Iraqi actress Kurdwin Ayub wins big at Berlin Film Festival

“Sonne” had its world premiere on Feb. 12 at the festival. (AFP)
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Updated 17 February 2022
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Iraqi actress Kurdwin Ayub wins big at Berlin Film Festival

DUBAI: Iraqi actress Kurdwin Ayub, a former refugee, won the Best First Feature award at the 72nd Berlin International Film Festival on Wednesday for her drama “Sonne.”

Ayub’s full-length feature, which she wrote and directed, centers around a Kurdish, Vienna-born teen, Yesmin, who makes a dance video with her non-Muslim friends.

The clip of the three girls goes viral overnight. Yesmin is then faced with cultural and religious challenges. 

“Sonne” had its world premiere on Feb. 12 at the festival.

Ayub was born in Iraq in 1990. She left her country with her family during the First Gulf War. The filmmaker, who is now an Austrian citizen, grew up on the outskirts of Vienna in a refugee camp.

Her shorts have been shown and awarded at numerous international film festivals. In 2013, she was awarded the Vienna Independent Short Newcomer Prize, while in 2011 and 2012, she received the Viennale Mehrwert Short Film Prize.

In 2012, she presented a series of her short films at the Viennale. Her feature documentary “Paradise! Paradise!,” which she directed and filmed, won multiple awards including Best Camera at the Diagonale — Festival of Austrian Film — and the New Waves Non Fiction Award at the Sevilla Festival de Cine Europeo.

This year’s Berlinale was held in-person for the first time in two years but was a shorter competition than usual, with strict regulations for audiences just as COVID-19 infections were peaking in Germany.

The festival awarded its Golden Bear top prize to Spanish director Carla Simon’s semi-autobiographical drama “Alcarras,” about a family of peach farmers fighting for their future.

There were 18 films from 15 countries vying for the Golden Bear, with the jury led by Indian-born American director M. Night Shyamalan.

The Berlinale is now the third major European film festival in a row to award its top prize to a woman director, following Cannes and Venice last year.

German-Turkish comedian Meltem Kaptan, 41, won the festival’s second ever gender-neutral acting prize for her performance in “Rabiye Kurnaz vs George W. Bush.”


Review: ‘Sorry, Baby’ by Eva Victor

Eva Victor appears in Sorry, Baby by Eva Victor, an official selection of the 2025 Sundance Film Festival. (Supplied)
Updated 27 December 2025
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Review: ‘Sorry, Baby’ by Eva Victor

  • Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character

There is a bravery in “Sorry, Baby” that comes not from what the film shows, but from what it withholds. 

Written, directed by, and starring Eva Victor, it is one of the most talked-about indie films of the year, winning the Waldo Salt Screenwriting Award at Sundance and gathering momentum with nominations, including nods at the Golden Globes and Gotham Awards. 

The film is both incisive and tender in its exploration of trauma, friendship, and the long, winding road toward healing. It follows Agnes, a young professor of literature trying to pick up the pieces after a disturbing incident in grad school. 

Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character. The story centers on Agnes’ perspective in her own words, even as she struggles to name it at various points in the film. 

There is a generosity to Victor’s storytelling and a refusal to reduce the narrative to trauma alone. Instead we witness the breadth of human experience, from heartbreak and loneliness to joy and the sustaining power of friendship. These themes are supported by dialogue and camerawork that incorporates silences and stillness as much as the power of words and movement. 

The film captures the messy, beautiful ways people care for one another. Supporting performances — particularly by “Mickey 17” actor Naomi Ackie who plays the best friend Lydia — and encounters with strangers and a kitten, reinforce the story’s celebration of solidarity and community. 

“Sorry, Baby” reminds us that human resilience is rarely entirely solitary; it is nurtured through acts of care, intimacy and tenderness.

A pivotal scene between Agnes and her friend’s newborn inspires the film’s title. A single, reassuring line gently speaks a pure and simple truth: “I know you’re scared … but you’re OK.” 

It is a reminder that in the end, no matter how dark life gets, it goes on, and so does the human capacity to love.