(published on 23.09.2026)
„Barbie“ by Greta Gerwig (USA 2023)
Subtitled from English by Andreas Gründel
„Breitscheidplatz 19/12“ by David Nawrath (Germany/Austria 2025)
Audio description of episodes 2, 5 & 6 by Myrjam Schmid
„Cooking up Democracy“ by Monika Treut (USA 2026)
Subtitled from Mandarin, Taiwanese and English by Katrin Meyberg;
SDH by Lynn Johansson
„Der große Zusammenbruch“ by Tilman König (Germany 2026)
Audio description by Myrjam Schmid
„Filmmaker in Fokus“ with Lukas Dhont, Emmanuel Macchia and Valentin Campagne
Andrea Kirchhartz is the interpreter at the Q&A
„Frank & Louis“ by Petra Volpe (Switzerland/UK 2026)
Audio description by Michaela Thompson with Klaus-Jörg Kaminski
„From Inside Out - Die Architektur von Peter Zumthor“ by Wim Wenders (Germany/Switzerland 2026)
SDH by Lynn Johansson
„Gabin“ by Maxence Voiseux (France/Germany/Switzerland 2026)
Andrea Kirchhartz is the interpreter at the Q&A
„Garance“ / "Another Day" by Jeanne Herry (France 2026)
Subtitled from French by Andrea Kirchhartz
„Ha-Chan, Shake Your Booty!“ by Josef Kubota Wladyka (USA 2026)
Subtitled from Japanese, English and Spanish by Reglindis Helmer
„Juste une illusion“ by Éric Toledano & Olivier Nakache (France 2026)
Andrea Kirchhartz is the interpreter at press talks and the Q&A
„La Bola Negra“ by Javier Calvo and Javier Ambrossi (Spain/France 2026)
Subtitled from Spanish by Ursula Bachhausen & Silke Nagel
„La Más Dulce“ / "Strawberries" by Laila Marrakchi (MA/F/ES/B 2026)
Andrea Kirchhartz is the interpreter at the Q&A
„Rukku Bakku“ / „Look Back“ by Hirokazu Kore-Eda (Japan 2026)
Subtitled from Japanese by Reglindis Helmer
„Tangles“ by Leah Nelson (USA/Canada 2026)
Subtitled from English by Sonja Majumder
"Albert Wiederspiel“ Award to author and director Rafiki Fariala
Andrea Kirchhartz is the interpreter at the award ceremony
(published on 23.09.2026)
„Backrooms“ by Kane Parsons (USA 2026)
Revision of SDH by Lynn Johansson
„From Inside Out - Die Architektur von Peter Zumthor“ by Wim Wenders (Germany/Switzerland 2026)
SDH/Barrierefreie Untertitel by Lynn Johansson
„Gæsten“ / „The Guest“ by Mads Mengel Nielsen (Denmark 2026)
Subtitled from Danish and English by Karoline Doil
„Gentle Monster“ by Marie Kreutzer (Austria/Germany 2026)
SDH by Lynn Johansson
„I play Rocky“ by Peter Farrelly (USA 2026)
Subtitled from English to French by Sarah Lafon
„La Bola Negra“ by Javier Calvo and Javier Ambrossi (Spain/France 2026)
Subtitled from Spanish by Ursula Bachhausen & Silke Nagel
„La Lune avec les Dents“ by Michel Soutter (Switzerland 1967)
Subtitled from French by Peter Jud
„Mila / Marija“ by Andrina Mračnikar (Austria/Slovenia/Greece/Slovakia 2026)
Subtitled from English by Irina Janke
„Nouvelle Vague“ by Richard Linklater (France/USA 2025)
Subtitled from English by Lena Breunig
„Tenzing“ by Jennifer Peedom (USA/Australia 2026)
Subtitled from English by Susann Fahle-Christensen
„The Housewife“ by Ben Shirinian (USA 2026)
Subtitled from English by Karoline Doil
„Violette“ by Jean-Pierre Jeunet (France 2026)
Subtitled from French by Lena Brunig
„We are Stardust“ by Elisabeth Rasmussen (Norway/Denmark 2026)
Subtitled from English by Irina Janke
„Wicker“ by Alex Huston Fischer & Eleanor Wilson (USA 2026)
Subtitled from English to French by Alice Falourd
(published on 13.09.2026)
„Alte Liebe“ by Andreas Dresen (Germany 2026)
Audio description by Myrjam Schmid
„Cocoon - One Summer of Girlhood“ by Yukimitsu Ina (Japan 2025)
Subtitled from Japanese by Anja Truong
„Die elektrisierende Venus“ by Pierre Salvadori (France 2026)
Subtitled from French by Ursula Bachhausen / Lena Breunig
„I play Rocky“ by Peter Farrelly (USA 2026)
Subtitled from English by Julia Ritter
„Eine Krankheit wie ein Gedicht“ by Jelena Ilić (Germany 2026)
Revision of the audio description by Susanne Willnow
„Frank & Louis“ by Petra Volpe (Switzerland/UK 2026)
Audio description by Michaela Thompson with Klaus-Jörg Kaminski
„From Inside Out - Die Architektur von Peter Zumthor“ by Wim Wenders (Germany/Switzerland 2026)
SDH by Lynn Johansson
„Hokum“ by Damian McCarthy (USA 2026)
Subtitled from English by Susann Fahle-Christensen
„Lieblingsmenschen – Die außergewöhnliche Freundschaft von Agnes und Amir“ by Helena Hufnagel (Germany 2026)
Audiodeskription by Myrjam Schmid
„Low Expectations“ by Eivind Landsvik (Norway 2026)
Subtitled from Norwegian by Lynn Johansson
„Tangles“ by Leah Nelson (USA/Canada 2026)
Subtitled from English by Sonja Majumder
(published on 06.05.2026)
Netflix is the first streaming platform to require people working on German dubbed versions of films to sign a contract granting the company the rights to use the content to train AI. Though the contract is tailored to voice actors, a new legal opinion reveals that it also applies to audiovisual translators. The contract fails to provide protective provisions for these workers, nor does it provide separate remuneration for the rights to AI training. Read more
(published on 11.02.2026)
Competition
„Gelbe Briefe“ by İlker Çatak (DE/FR/TR 2025)
Screenplay translation to French by Emma Delforno
„Kurtuluş“ / „Salvation“ by Emin Alper (TR/FR/NL/GR/SE/SA 2026)
German subtitles by Lynn Johansson
„Nina Roza“ by Geneviève Dulude-De Celles (CA/IT/BG/BE 2026)
Revision of the German subtitles for the bilingual subtitle version by Andreas Riehle
„Wo Men Bu Shi Mo Sheng Ren“ / „We are all strangers“ by Anthony Chen (Singapur 2026)
German subtitles by Andreas Riehle
„Yo (Love is a Rebellious Bird)“ by Anna Fitch & Banker White (USA 2026)
German subtitles by von Peter Jud
Berlinale Special Series
„House of Yang“ by Stefanie Ren & Mia Spengler (Deutschland 2026)
German audio description by Mikesch Rohmer
Forum
„Einar Schleef – Ich habe kein Deutschland gefunden“ / „Einar Schleef – No Germany Did I Find“ by Sandra Prechtel (Deutschland 2026)
English subtitles by Nathan Fritz
Retrospektive
„Berlin, Bahnhof Friedrichstraße 1990“ by Konstanze Binder, Lilly Grote, Ulrike Herdin & Julia Kunert (Deutschland 1991)
English subtitles by Rebekah Smith
(published on 24.10.2025)
„À bicyclette“ by Mathias Mlekuz (France 2024)
Subtitled from French by Lynn Johansson
„Amour Apocalypse“ by Anne Émond (Canada 2025)
Subtitled from French by Sigrun Kortas
„La danse des renards“ by Valéry Carnoy (France, Belgium 2025)
Subtitled from French by Anna Pristouschek
„Dossier 137“ by Dominik Moll (France 2025)
Subtitled from French by Anna Pristouschek
„Fanon“ by Jean-Claude Barny (France, Luxembourg, Canada 2024)
Subtitled from French by Andrea Kirchhartz
„Laurent dans le vent“ by Mattéo Eustachon, Léo Couture, Anton Balekdjian (France 2025)
Subtitled from French by Gaby Gehlen
„Météors“ by Hubert Charuel & Claude Le Pape (France 2025)
Subtitled from French by Eva Backmann
„Nino“ by Pauline Loquès (France 2025)
Subtitled from French by Lynn Johansson
„La petite dernière“ by (France, Germany 2025)
Subtitled from French by Ursula Bachhausen
(published on 21.09.2025)
„Amour Apocalypse“ by Anne Émond (Canada 2025)
Subtitled from French by Sigrun Kortas
„À pied d’oeuvre“ by Valérie Donzelli (France 2025)
Subtitled from French by Anna Pristouschek
„Billie“ by Sheri Hagen (Germany 2025)
SDH by Susann Fahle-Christensen (in GRETA app)
„Dann passiert das Leben“ by Neele Leana Vollmar (Germany, Austria 2025)
Audio description by Petra Schielke (in GRETA-App)
„La danse des renards“ by Valéry Carnoy (France, Belgium 2025)
Subtitled from French by Anna Pristouschek
„Det Andet Offer“ by Zinnini Elkington (Denmark 2025)
Subtitled from Danish by Susann Fahle-Christensen
„Diamanti“ by Ferzan Özpetek (Italy 2024)
Subtitled from Italian by Andrea Kirchhartz
„Dossier 137“ by Dominik Moll (France 2025)
Subtitled from French by Anna Pristouschek
„Dragonfly“ by Paul Andrew Williams (UK 2025)
Subtitled from English by Eva Backmann
„Eagles of the Republic“ by Tarik Saleh (Sweden, France, Denmark 2025)
Subtitled by Andrea Kirchhartz
„Ma frère“ by Lise Akoka & Romane Gueret (France 2025)
Andrea Kirchhartz is the interpreter at the Q&A
„Mamlaket al-qasab“ by Hasan Hadi (Irak, USA, Qatar 2025)
Revision of the German subtitles by Melike Bayar
„Mille secrets, mille dangers“ by Philippe Falardeau (Canada 2025)
Subtitled from French by Sigrun Kortas
„Nino“ by Pauline Loquès (France 2025)
Subtitled from French by Lynn Johansson
„La petite dernière“ by (France, Germany 2025)
Subtitled from French by Ursula Bachhausen
Andrea Kirchhartz is the interpreter at the Q&A and press interviews
„Romería“ by Carla Simón (Spain, Germany 2025)
Subtitled from Spanish, Catalan and French by Ursula Bachhausen
„Se Meg“ by Nina Knag (Norway 2025)
Revision of the German subtitles by Lynn Johansson
„Testa o Croce?“ by Alessio Rigo de Righi, Matteo Zoppis (Italy, USA 2025)
Subtitled from Italian and English by Christina Gauglitz
(published on 10.02.2025)
"Dreams" by Michel Franco (Mexico 2025)
Subtitled from English and Spanish by Silke Nagel
Revision of the German subtitles by Ursula Bachhausen
"Drømmer / Dreams (Sex Love)" by Dag Johan Haugerud (Norway 2024)
Revision of the German subtitles by Lynn Johansson
"Delicious" by Nele Mueller-Stöfen (Germany 2025)
Screenplay translation / Film transcription from German to French by Jérôme Serre / Emma Delforno
"Die Möllner Briefe" by Martina Priessner (Germany 2025)
German audio description by Felix Koch
"Palliativstation“ by Philipp Döring (Germany 2025)
Revision of the German subtitles by Brenda Benthien
"Arame farpado" / "Barbed Wire" by Gustavo de Carvalho (Brasil 2025)
Subtitled from Portuguese by Ursula Bachhausen
"Christy" by Brendan Canty (Irland/UK 2025)
Subtitled from English by Juliane Mascow
"Hora do Recreio" by Lucia Murat (Brasil 2025)
Subtitled from Portuguese by Anna Foltanska
"Howl" by Domini Marshall (Australia 2025)
Subtitled from English by Juliane Mascow
"Only on Earth" by Robin Petré (Denmark/Spain 2025)
Subtitled from Spanish and Galician by Ursula Bachhausen and Silke Nagel
"Quaker" by Giovanna Molina (USA 2025)
Subtitled from English by Juliane Mascow
(published on 08.07.2022)
Iyuno is one of the world’s largest agencies for localization and language services. In June 2022, the company published a white paper on the subtitle production process, making a number of assumptions concerning the work of subtitlers that we firmly reject. So we decided to follow the examples of ATRAE and AVTE and publicly address the company in an open letter:
We, the Association for Audiovisual Translators in Germany (AVÜ), would like to react to Iyuno’s white paper on the subtitling production process by saying that we agree with every point our Spanish sister organization ATRAE and our umbrella organization AVTE (Audiovisual Translators Europe) have made, and we would like to stress the following items in particular:
The last section of the white paper “Industry Perspective” refers to the alleged “shortage of translators” or – as it’s been called on other occasions – “talent crunch,” although it has been refuted by numerous professionals and translators’ organizations since the issue was first brought up late last year. To conclude that there are not enough competent subtitlers on the market just because you are dissatisfied with the quality delivered by the subtitlers working for you, was and still is no more than an unfounded assumption, and a very narrow minded one at that.
Professional and capable subtitlers do exist in large quantities. You simply don’t seem to attract them, which is probably due to the small fees you offer. The rates come nowhere close to the kind of compensation the professionals used to get, which they need in order to provide for themselves and their families, and which they highly deserve as well, given their university degree, training, long-term experience and expertise. It is outrageous that university graduates working as freelance translators and subtitlers – who by definition do not have the possibility of promotion and consequent pay raise – have to settle for sinking wages and prepare for old-age poverty. In order not to succumb to that, many seasoned translators are forced to change careers unless they have managed to establish fair and long-term working relationships with one or two end clients, making sure that they can maintain their living standard and that of their families in the future.
So instead of wondering how to recruit new talent and spending time and money on training newcomers, why not spend these resources on appropriate compensation and rely on the talent that is already there for the taking? And if that is not sufficient, there are indeed hordes of university graduates trained not only in translation and subtitling, but also in calculating what fees they need to ask for to make a decent living, waiting to get to work.
Having said all that, of course some experienced and highly competent translators plod on, trying to keep up high standards while accepting low and ever more deteriorating working conditions. These poor conditions are marked by impossible deadlines, additional unpaid tasks and a lack of appreciation. Your cynical comment that even translators who consider themselves underpaid do perform satisfactorily is a slap in the face for them. A once exciting, interesting, creative and sophisticated profession is thus turning into a low-pay treadmill.
This is where machine translation comes into play: We don’t need tools to make work “easier” for us if their foremost purpose is to justify the low wages we’re being paid. Most of the time this doesn’t even add up because post-editing machine translated subtitles generated by voice recognition software, is often more time consuming than creating subtitles from scratch. So, by suggesting the introduction of certain tools into the process to improve working conditions, you’re putting the cart before the horse.
However, by offering adequate compensation you can ensure a rich pool of subtitlers, smooth production flows and good quality to satisfy yourselves and your clients.
(published 14.04.2021)
Our member Daniel Landes translates video games and has a keen interest in machine translation, which is fast becoming a big issue in AVT. Here he discusses the latest MT-related research and the possible impact on AVT: "Machine translation and the state of the translation industry" (PDF).
"The real problem is the economic model that, even before the arrival of artificial intelligence (AI) and machine translation (MT), was geared towards devaluing the work done and exploiting the individual service providers."
