For the 75th anniversary of the Berlinale, graphic designer Claudia Schramke revives the old magic of cinema. With a moving key visual, she focuses on the combination of tradition and innovation – and tells Sofia Kleftaki how she managed to unite analogue nostalgia with modern animation.
Imagine sitting in the cinema, the room darkens and then the familiar numbers on the screen begin to count down. A countdown – it conveys anticipation, excitement and the special magic of the cinema. It is precisely this feeling that graphic designer Claudia Schramke has captured for the 75th anniversary of the Berlinale. But she has taken it to a new level – and not just in a static form, but in motion.What inspired you to choose the theme of “time” as the central motif for the 75th Berlinale anniversary?
It was important to me to build a bridge from the past to the present for the anniversary edition. I was inspired by the classic film countdowns that we all know and love, especially because of their unique graphic quality and the emotion they evoke. That moment when we feel: Now it begins! When I had the idea to create a contemporary “remix” of a classic film countdown, I immediately realised that it had visual potential. It's abstract in a certain way and conceptually coherent at the same time. The design also has a modern, colourful interpretation. It was important to me that this year's design both references old cinema and past films, but also feels fresh and contemporary.
What visual and symbolic elements did you use to unite the nostalgic cinema feeling with the contemporary aesthetic of the Berlinale 2025?
I used elements of historical film countdowns as they are an iconic symbol of the analogue film era. In the past, 35mm films needed such countdowns to signal to the projectionists when the film was about to start and to ensure synchronisation with the sound. These countdowns usually consisted of numbers counting backwards from 8 to 2, often accompanied by circles, lines or other graphic elements. The Berlinale countdown counts from 3 to 1, with a “beam” rotating concentrically every second. Instead of retro black and white, however, I have immersed these elements in dazzling colours on a Berlinale red background. After the countdown, the festival literally “opens”, or symbolically the film. Initially, the anniversary number “75” appears in the centre, but is later replaced by the festival name “Berlinale”. The “75” then appears smaller, diagonally above “Berlinale”, illuminated by the rays that have been released from the second hand.
Nowadays, films are mostly shown digitally, which is symbolised by the animated visual. My overall idea: instead of thinking only of print and later animation, movement and the versatile possibilities of digital media should take centre stage right from the start.
How did you bring the 75th anniversary of the Berlinale to life visually and translate its emotional significance visually?
In the beginning, I always placed the “75” in a very large position at the centre of the design. However, at the request of the Berlinale, we made the festival name bigger and placed the “75” more discreetly. Now the name “Berlinale” is large in the centre. Graphically, however, I was very taken with the large, centred “75” – I have a certain weakness for numbers! The font used, “Pangea”, created by Berlin-based type designer Christoph Koeberlin, is characterised by beautifully cut numerals. This font also has a purpose: 25 percent of the revenue from “Pangea” goes towards rainforest conservation and reforestation projects in collaboration with local communities. That was an additional reason for me to choose this particular font.
What were the particular challenges in designing the animated element and transferring it to the static poster?
An animated poster offers more possibilities, as content can change over the course of time. There is the additional dimension of time! Theoretically, something could be added or removed. However, the challenge remains to ensure that the design is graphically appealing and attractive, while at the same time remaining easy to read or possibly irritating. In my case, I created the animated visual first, and it was anything but easy to turn it into an equally vibrant and radiant static poster. I worked with the random image moments (stills) from the animation, which had a special spontaneity. This resulted in the static but hopefully lively poster. In this case, it was more of a challenge to develop the still, printed poster. But of course it was also a new challenge to work with animation, especially with a motion graphic visual.
What role do motion graphics play in today's cultural and film communication, and how did you introduce this visual language into your design?
Motion graphics have long been closely associated with cinema and film. Animated title sequences in cinema films in particular offer enormous artistic potential and are often works of art in themselves. The title design of the film Catch me if you can springs to mind. Animated logos of film production companies and film distributors also have a long tradition and are not a phenomenon of the digital world. Just think of the iconic roaring lion from Metro-Goldwyn-Mayer. So I thought it was about time that the Berlinale also had an animated festival poster.
What does it mean to you to work as a designer with the Berlinale and to be involved in the design of this iconic festival?
(Laughs) I think I've reached the pinnacle of my career. From studying at art school straight to the Berlinale – I don't know what else could come after that. Of course I'm incredibly happy to have been given this honour. The years with the Berlinale are an outstanding moment in my professional life. The fact that I have now also been entrusted with designing the anniversary edition has a special meaning for me. It's a great feeling to see my posters in the city and to know that they reach so many people – not just in Europe, but worldwide!
What other facets of the Berlinale do you like?
I think it's great how the Berlinale offers young filmmakers and political issues an enormous stage. I was particularly touched by political documentaries such as the Belarusian film Courage by Aliaksei Paluyan, which tells the story of an activist theatre group in resistance. But I also value the Berlinale on a personal level as a meeting place where I go to the cinema with my friends and share special experiences. And it is particularly important to me to watch a film from the “Generation” section with my children every year – this has now become a tradition.
February 2025