To support our team, we are looking for Webmaster Support. The role focuses on maintaining and developing the festival’s bilingual WordPress website. Tasks include updates, technical improvements and ensuring responsive and accessible web design. The position also involves implementing the new festival website design. Another key task is supporting the connection between the website and our internal film database “Moviebase”. This includes working with form systems and API-based data transfer. The workload is about 2 hours per week during the year and 25–30 hours before and during the festival. For the current website redesign, an additional 20–30 hours are expected. We offer a modest stipend, insight into an international cultural festival and the opportunity to become part of the festival team.
Interested? Write us via email to office@pornfilmfestivalberlin.de.

The team of the Pornfilmfestival Berlin stands in solidarity with Tricia Tuttle and the Berlinale management team. Our festival, which is celebrating its 20th anniversary this year, is different from the Berlinale in that it is rooted in subculture and not subject to the constraints or pressures of justification that come with state funding. We can only imagine how it feels when art collides with authority and is under such intense political pressure. For us, the Berlinale has always been an inspiration, a space for open political debate, a forum for cinematic daring and discomfort. We do not understand why a competent director should take the fall for political failings in Germany. Tricia Tuttle is good for the Berlinale, German cultural politics, and the film world, and her casual yet professional manner is an asset to Berlin and the queer community. We stand with her and the Berlinale team and hope that they can all continue to be as creative and unconventional as they have been.

The team of the Pornfilmfestival Berlin

Cinema of Disobedience is a global collective movement of filmmakers that came into being in opposition to market-first logic, bureaucratic and non-transparent funding structures, and the expectation that cinema must be simplified to be sellable.

We are preparing ourselves against the right wing, masters of oversimplification, who will be manipulating the public. Cinema of Disobedience is a form of resistance.

Join us at Kino Moviemento to see the Aesthetics of Disobiedience against the narcotics of the ultra right wing.

Important note: All films are in Original Version with English subtitles

Also don’t miss Uchronia by Fil ieropoulos on 2026-02-17 at Forum Expanded/Berlinale. Please check https://www.berlinale.de/de/2026/programm/202608348.html for exact screenings times and location.

Cinema of Disobedience is also present at the International Film Festival Rotterdam. Please go to https://iffr.com/nl/ and look for new films by Malga Kubiak, Gustavo Vinagre and Thunska Pansittivorakul.

Dance with Cinema of Disobedience at the “Uchronia! Dance with queer ghosts“ – extravaganza at Ficken 3000 on 2026-02-16, 23:00, free entrance.

More Information to be found on https://www.cinemaofdisobedience.com.

Program

PFFB regular Jan Soldat is showing the oevre of his work at Volksbühne on Jan 21^st, 2026 at Volksbühne Berlin!

Please note that the program is in German only!

More details see here

Tickets

About Jan Soldat

Born in 1984 in Karl-Marx-Stadt (Chemnitz), Jan Soldat spent the first years of his life in East Germany. After graduating from high school and completing his civilian service at the Chemnitz hospital, he began studying business mathematics, then switched to mechanical engineering, but dropped out and eventually turned to filmmaking.

Between 2006 and 2008, the first fictional short films were created at the Chemnitz Film Workshop within his circle of friends. Even these early works grappled with the question of how close the camera’s gaze can truly get to life. It is precisely this tension between intimacy and distance, between openness and reserve, that continues to define Jan Soldat’s films, allowing him to explore the depths of interpersonal relationships in their various forms. In these films, sexuality is never an end in itself, but rather a necessity, enabling him – in contrast to classical cinema – to truly pose and address the fundamental questions of human intimacy, power, vulnerability, and care. The first part of the program presents a selection of Jan Soldat’s early fictional short films, produced within the framework of the media education association “Chemnitzer Filmwerkstatt e. V.” (Chemnitz Film Workshop), as well as his first portrait films, created at the beginning of his studies at the Film University Babelsberg.