Winner of this year's European Film Academy Lifetime Achievement Award, the German filmmaker behind classics such as Paris, Texas, Wings of Desire, Buena Vista Social Club and one of our favorite films of 2023, the peaceful and captivating Perfect Daysis as humble, insightful and friendly as ever.
Euronews Culture spoke with Wim Wenders during the European Film Awards this year to talk about his latest award, the films that have marked his life and his hopes for 2025.
It was almost inevitable that audiences would gradually turn to streaming services. But it happened suddenly, and it was a big blow to independent cinemas
Euronews Culture: I had the pleasure of speaking with you last year in Lyon, where you won the Lumière Prize. This year you are receiving the European Cinema Academy Lifetime Achievement Award. What does this mean to you?
Wim Wenders : Last year was very special, and this year's award is special because it comes from my family. I have been involved with the European Film Academy since its beginnings, during its 36 years of existence, 24 of which as President.
So I feel like I belong to a family. Normally, it's not your family that gives you an award. They just tap you on the shoulder and say, “Well done, boy,” and then they leave. So it's very special to me.
As President of the European Cinema Academy from 1996 to 2020, you were well placed to contribute to and witness the evolution of European cinema over the years. What do you think of its progress and is it moving in the right direction?
We were progressing well and then the COVID-19 pandemic arrived and disrupted the system. It has diverted a lot of people from theaters and movies to streaming, and the growth has been much bigger and faster than anyone expected.
It was almost inevitable that audiences would gradually turn to streaming services. But it happened abruptly, and it was a big blow to independent cinemas. The large complexes have survived a little better.
I have repeatedly seen people and governments invest in culture in times of crisis, and it has always paid off. This has always helped them overcome the crisis, whatever it may be
Other threats to independent cinema outside of streaming include the German government's recent threat to cut cultural funding from certain institutions. Are we losing sight of the value of culture, including cinema, in society?
It's always the same thing. People, governments, countries have to cut their budgets and they always do the most obvious and the worst at the same time. They are starting to reduce funding for culture and this is, in the long term, the hardest price to pay. Because I think that in the long term, they have everything to gain from keeping the culture alive.
To cut off the culture first is to cut off all the momentum and all the joy of what will happen next. I have repeatedly seen people and governments invest in culture during times of crisis, and it has always paid off. This has always helped them overcome the crisis, whatever it may be.
Reducing culture does not mean preparing people for the crisis, whatever it may be, but getting them to face it in a bad mood. I think this is a mistake.
I know many people who now leave the house in the morning and first look at the sky with a smile – and they say it has a huge effect
To talk about something a little more joyful, one of the things that has moved me throughout your career is your use of music in films. Last year, at the Lumière festival, an astonishing vinyl was released, bringing together a large number of songs that have appeared in your films, from Nick Cave to Eels via Radiohead. It's an impressive selection of artists over the years.
I try to listen to as much current music as possible, and there are some great people out there. Lots of women are making amazing music. I think women have the advantage right now. But I listen to some of my old favorites, and some of them have really helped me get through every one of my crises. I would like to mention Lou Reed here, because he has been gone for a number of years and I miss him very much. But his music is still very much alive and still has a strong sense of the present and the here, even if he is no longer here.
The fact that you mentioned Lou Reed reminds me Perfect Dayswith the use of her songs, but also this incredibly moving ending with the use of Nina Simone's “Feeling Good.” Not a single word is spoken, but everything is said in this last scene.
Yes, because Nina speaks the lyrics and explains the meaning of the song. I made sure that my actor, Kōji Yakusho, knew every word of this song… And you can see in his face that he understands what she is singing. What she sings is the true credo of her life. The moment counts and the little things matter, it's the awareness of being alive.
The film is about appreciating the little things in life, as well as the Japanese concept of komorebi – which, if I'm not mistaken, translates to “sunlight shining through the trees”. This is a concept that the world needs right now.
It's true, people who were interested in the film understood that the little things make this man very happy. They tried and it brought them much happiness in their own lives. I know many people who now leave the house in the morning and first look at the sky with a smile – and they say that this has a huge effect.
And see the komorebi in action, this beautiful little spectacle that we see on a wall or on the ground, it is the sun, the leaves and the wind that produce it. It's free! (Laughs) Few people see it, but learning to see it makes life much richer.
One of the greatest pleasures of my life was seeing Vertigo for the first time
Speaking of life enrichment, do you remember the movie that sparked your passion for cinema?
What would this film have been like? One of them was 2001: A Space Odyssey. Let me think… One of the greatest pleasures of my life has been seeing Vertigo for the first time.
But I must also mention the films of my master, Yasujiro Ozu. I discovered him quite late, because his films were not available, neither in America nor in Europe. But when I saw them, I was blown away. It was like the lost paradise of cinema – I love all his films. It's like one and the same work, all of his 50 films.
Throughout your career, you have crossed borders with your films, whether in Cuba with Buena Vista Social Clubin the United States with Paris, Texas or in Japan with Perfect Daysto name just a few. Are there places you'd like to go film, places you haven't been yet?
Yes. My whole life I've wanted to go to India, and next year I'm finally going to do it for a whole month. But I'm also a little hesitant because I'm going to be homesick, and I'm already homesick for too many places! (Laughs)
I thought nationalism was on the way out, but it’s coming back in a big way. If every nation is now going to say, ‘Me first!’ it’s not going to go anywhere. The idea of Europe is a much more beautiful idea. I think we can keep the idea of Europe going and defend it against all these nationalist attacks.
What are your ambitions and hopes for 2025? Apart from your trip to India, of course.
I don't have any personal hopes. This planet is suffering greatly and we are suffering from everything that goes in the wrong direction. As far as the climate is concerned, it is always going in the same direction, which is the wrong direction.
In politics, old ideas that didn't work when previously applied resurface. I thought nationalism was on its way out, but it's making a comeback. If every nation now says “Me first”, it will go nowhere. The idea of Europe is much more beautiful. I think we can maintain the idea of Europe and defend it against all these nationalist attacks.
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