British Shorts is returning to Berlin for its 19th year. The festival is a buzzing cauldron of ideas, bringing fresh takes on forgotten cinema and brilliantly original curation to the big screen. Each year, the festival’s team, made up of Andrea Stosiek, Jürgen Fehrmann, Oliver Reichardt, Julia Elger and Henning Koch, screens selected shorts from the UK, Scotland and Ireland.
With this year’s edition right around the corner, the team behind the festival tells us about their origin story, as well as what we can expect in 2026. One of the highlights will be a first-hand look at their retrospective on London’s iconic Scala cinema and the films and lives that surrounded it. From January 22-28, spanning across seven days and seven venues and featuring 150 films, British Shorts is the place to fight off any Berlin winter blues and stay inspired.
First things first: I’d love to know how you all met. What are all of your backgrounds and how did you all come together?
Andrea: It all began with our film club named Lichtspielklub, where we weekly screened films that weren’t part of Berlin’s regular cinema programme, in the basement of a gallery in Berlin-Mitte. The nights combined film screenings, concerts, DJ sets and much more. This is where Julia, Oliver, Jürgen and I came together – the core group that started the festival and still run it today. Henning joined a little later, first as a visitor, then as a journalist and finally as the curator for our retrospectives. We have different backgrounds: cinema owner, film scholar and freelance curator, designer, filmmaker, IT expert… What connects us is our passion for film and for cinema. The festival has grown each year. It’s important to note that both Lichtspielklub and British Shorts are 100% independent. Without the passion and enthusiasm of the core team, all our helpers and the audience, the last 19 years wouldn’t have been possible, and for that I’m very grateful.
Where did the concept for the festival stem from?
Jürgen: From the outset, it was important to us that we organise a festival exactly as we would want it as an audience. For example, it’s organised with short film screenings that aren’t curated thematically, rather that contain different moods, genres, topics and perspectives. Sometimes this can be challenging, but it’s always entertaining. Basically, we want it to feel like a good mixtape – and one that’s accompanied by a programme of concerts, workshops, exhibitions and parties that goes far beyond the cinema experience.
What connects us is our passion for film and for cinema.
Why British cinema and why in Berlin?
Julia: I had moved to England to study film, and whenever I came home to visit, I got the Lichtspielklub gang to watch the shorts I was involved in at the time. They generously suggested a screening of shorts made by me and my fellow students. People were interested and came to see the programme. For the next edition, we opened submissions to filmmakers across the UK, and a little later to those from Ireland as well. It’s probably one of the reasons why we haven’t charged submission fees so far. It was kind of born out of giving students a chance to screen their films abroad.
What draws you to the short format?
Oliver: It’s the brevity and incredible diversity. Imagination, sometimes with a little bit of reality thrown in, can produce the most exciting, funny, bizarre and dramatic stories that can be told in just a few minutes. I’m always amazed at how skilfully the stories are told, and the passion with which they are brought to life.
What are you looking for when you select the shorts for the festival?
Jürgen: That depends. Of course, there are topics or genres that particularly interest us, but it could just as easily be the unconventional interpretation of an idea that wins us over. Ultimately, the same story can be told as a comedy, drama or even a horror film and if the way it is realised inspires us for whatever reason, then we definitely want to show the film.
Andrea: Our entire team watches all the films that are submitted, so the final joint selection is a demanding process, but I think it’s worth doing it this way to make sure that the programme is as diverse and interesting as possible.
Where did the idea of holding a workshop during the festival stem from? And how do you find the talent to run this section?
Julia: John Digance and Dave Green, who teach our annual free filmmaking workshop, used to teach me at my university. They have this incredible talent of instilling excitement in people to inspire them to go out and create something unique, no matter your level of experience or the equipment you have. Everyone is welcome to participate as long as there are spots available, so advance registration is necessary. The next workshop topic and further information can be found on our website.
There’s always a great photography display alongside the festival as well…
Jürgen: The free photography exhibition at the festival centre in Sputnik Kino allows us to explore topics covered in the film programme in greater depth. This year, for example, we’re focusing on cinema as a place for encounters, exchange, creativity and adventure. The photo exhibition features works by Darren Holden and Peter Marshall and shows photos from the 1980s to the present day. In the past, we’ve had projects by photographers like Tish Murtha, Rob Bremner, Peter Mitchell, Anna Maguire, Alan Lodge and Simon Wheatley at Sputnik Kino. The fact that these people have entrusted us with their work is really something special for us.
Do you have any highlights from over the years?
Andrea: Every festival edition has been fantastic. We’ve had great guests, workshops, concerts and films. Looking back at the past 19 years, it would take too long to answer this question.
Julia: We’re so lucky to get to screen amazing shorts by directors who often go on to make amazing feature films, such as Prano Bailey Bond (Censor), Charlotte Wells (Aftersun), Harry Lighton (Pillion) or Karan Kandhari (Sister Midnight). It’s such a joy to see them smashing it.
Jürgen: For me, the short film retrospective with Scottish actress and BAFTA winner Kate Dickie (Red Road, Game of Thrones) is right at the top of the list. It included an inspiring conversation with artist and filmmaker Phil Collins (not the famous drummer). For me, that was a moment to just be a fan!
Henning: It’s great that quite a few filmmakers have shown more than one film at our festival over the years.
From the outset, it was important to us that we organise a festival exactly as we would want it as an audience.
What’s the vibe like at the festival?
Julia: It ranges from casually festive at the festival’s opening night to gloriously bonkers at our Midnight Movies screening. We hope there’s a little air of excited anticipation amongst our audience – that they hope to maybe discover something new, have a good time and to be challenged, all while sharing their experience with a full house and with the filmmakers present.
How do you choose the kinos you work with?
Andrea: We prefer to only work with independent cinemas. We try to be at as many cinemas as possible, in order to reach as many different people as possible all over Berlin. For us, it’s important that our venues show films in their original language and that they’re open to the programmes we’re curating for them.
Lastly, what makes a film distinctly British?
Julia: Watch and let us know.
For more info visit britishshorts.de
