Wealth gaps may be fueling fascism, and Bond rumors spark playful chaos at Berlin’s press room—here’s what happened.
Pamela Anderson, Callum Turner, Tracy Letts, Lukas Gage, and Jamie Bell brought star power to the Berlinale’s Rosebush Pruning press conference on a chilly Saturday in Berlin. The film follows an American family clashing during a stay at a Spanish villa and is described by the festival as a biting satire about the absurdities of the traditional patriarchal family. World premieres were planned for the Berlinale Palast that evening, with Elle Fanning and Riley Keough notably absent from the lineup of co-stars.
At the start of the event, a journalist bluntly addressed the persistent chatter about Turner potentially stepping into the James Bond role. Turner smiled and said, “It’s very early for that question. I’m not going to comment.” Tracy Letts, ever the entertainer, quipped, “I’m the next James Bond!” which drew laughter from the room and quickly became a lighthearted moment captured in social media posts.
The press conference occurred amid broader controversy surrounding the festival’s willingness to engage with cinema’s political dimensions. Berlin has long been known for its politically engaged audience, and this year fans and reporters expressed concern that key figures — including jury president Wim Wenders, Golden Bear winner Michelle Yeoh, and Sunny Dancer star Neil Patrick Harris — were reluctant to address how art intersects with current political realities and the rise of fascism. Indian author Arundhati Roy even withdrew from the festival in protest of some comments made by Wenders about art and politics.
Tracy Letts, who plays the film’s wealthy patriarch, openly discussed the movie’s themes. He noted that while he can’t speak for other artists, the project itself makes a clear statement: extreme wealth disparities can drive harmful behavior and, in some cases, pave the way for fascism. Letts emphasized that the ensemble and the director’s vision carry the work beyond the political debates of any single country, and that collaboration within a film is a unifying force despite external political tensions.
Director Karim Aïnouz weighed in on public financing, highlighting the importance of support from institutions like the German Federal Film Board (FFA) and the UK Global Screen Fund. He argued that public funding safeguards artistic freedom and helps cinema reach audiences in ways that might be blocked by censorship or political pressure. He also shared that cinema in his own country could hardly exist without such backing.
Pamela Anderson, who plays the mother in Aïnouz’s film, reflected on the character’s complexity. She described the role as a compelling exploration of motherhood, pride, and rebellion, noting that the mother’s sexuality adds another layer of tension and insight to the story.
The Berlin Film Festival runs from February 12–22, 2026, continuing to spark conversations about art, politics, and society while spotlighting international cinema on the world stage.
