There have also been some outdoor public gatherings – some illegal, potentially dangerous, and condemned by the majority, including others in the club scene but others that are more organised and safe, combining yoga classes, for example, with socially distanced dancing.Ī recent statement from the city’s Club Commission, an official organisation that represents the club scene in the city, squashed rumours of local clubs receiving an average of more than €80,000 (£72, 089) each in grants, explaining that funding of up to €25,000 had been received by around 20 clubs, including well-known institutions such as Tresor, Sage Club or the Watergate. More recently, venues with beer gardens, such as ://About Blank, Panke and the Holzmarkt (part of Kater Holzig), have opened their outdoor spaces (with the requisite social distancing), and Berghain recently opened one of its rooms for a sound exhibition.
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But it also doesn’t cover all costs, nor all venues, hence the creation of fundraising projects such as United We Stream, a joint effort between ARTE concert, radioeins, ALEX TV and FLUX FM, which has been livestreaming DJ sets, music and performances, as well as hosting online discussions, lectures and films on club-related topics since the pandemic began. This support has been good news for a scene that doesn’t enjoy the generous state funding of more official cultural establishments.
Social distancing and good ventilation will continue to be a challenge for indoor clubs in the city It is its vibrant cultural life that makes Berlin unique, and we will continue to fight for its preservation.” Dozens of clubs and festivals have already received grants from this programme. This programme aims to support the Berlin club scene by providing grants to help them survive the economic difficulties caused by the pandemic. “Acknowledging the importance of clubs for our city’s cultural and social life, the Senate of Berlin has established an emergency aid programme for cultural institutions that also applies to clubs and live music venues. “The current pandemic poses a huge problem for Berlin’s club scene,” admitted Klaus Lederer, Berlin’s Senator for Culture and Europe. It hasn’t helped that several outbreaks in Berlin were traced back to nightclubs at the beginning of the pandemic. With more than 140 nightclubs and another 140 club event agencies employing some 9,000 staff, the scene is not only famed for its endless parties, liberal atmosphere, and unique venues – old factories and power stations former squats – it is also of major economic importance too, with thousands of tourists coming to the city to spend entire weekends on dancefloors.īut although the city has generally been getting back to normality after lockdown, with theatres, museums, cinemas, opera houses and other cultural spaces reopening, its clubs are still shuttered – and this is likely to remain the case until the end of the year, since larger gatherings, especially indoors, are still banned. But Komasa directs with a conviction that also drives the mesmerising Bielenia, whether he's acting as lookout during a cellblock beating, partying hard after his release or trying to remember the rituals he's looked up online before saying his first mass.Over the last decade or so, Berlin has become almost as famous for its non-stop nightlife as it has for its captivating history and dynamic cultural sector. Here he poses as a newly ordained priest and not only heals the wounds caused by a tragic car crash, but also inspires a surge in church attendance through the impassioned sermons that address the everyday concerns of his flock. Yet Mateusz Pacewicz's screenplay is based on true events, as it follows 20-year-old Daniel (Bartosz Bielenia) from the brutal borstal where his Catholic conscience has been pricked by Father Tomasz to an industrial backwater. Forming a sort of holy trinity with Malgorzata Szumowska's Mug (2017) and Wojciech Smarzowski's Clergy (2018), Jan Komasa's study of faith, vocation, goodness and redemption brings to mind Graham Greene's novel The Power and the Glory (filmed by John Ford as The Fugitive in 1947).
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