Log in
Log in to use the My Festival Planner feature.
Please note:
Due to a database changeover, it is no longer possible to log in with an account from previous Berlinale editions. Please create a new account.
Using the icons in the programme you can create your individual festival schedule and subscribe to the iCal feed.
Log in
Log in to use the My Favourites feature.
Please note:
Due to a database changeover, it is no longer possible to log in with an account from previous Berlinale editions. Please create a new account.
Use the icons in the programme to create a list of your favourites.
2024 (2023)
In 2024 (2023), Stefan Hayn unpeels layer by layer what he sees, where he is and what he does. He paints the city in which he lives, Berlin. He portrays his family. His daughters are used to it, they don’t pose. It’s a relationship-based interaction that is reflected in his painting and a struggle for the image. Wouldn’t it be easier just to take a photo? Painting takes time and gives you time, it shows how differently we see things and how important it is to be within reach of what is being depicted. What shows through? Hayn also addresses and depicts this struggle for the visible – every day, for hours on end. He himself becomes a motif, as a street painter with a large canvas, in front of the Jewish Museum, the Haus der Deutschen Wirtschaft, the Amerika-Gedenk-Bibliothek. In 2024 (2023), his first film shot solely on a smartphone, the ‘painting-on-film’ director takes diary-like and very personal snippets of the two years that give the film its title. Without forcing a specific reading, he uses light, weather, turpentine, tired limbs and fleeting encounters to create an airy, sharp critique of the availability of images. A social medium.
