Discover why Berlin’s Deutsche Kinemathek is turning heads with Inventing Queer Cinema , a lively, archival-led exhibition that foregrounds the Salzgeber filmverleih, screens 96 queer titles in a tiny studio cinema, and sparks conversations about visibility, activism and gaps in queer film history.

Essential Takeaways

  • Core focus: The exhibition centres on the archive of Berlin queer distributor Salzgeber, mapping its films from 1985 to today.
  • Big visual hook: Steel cables carry images from decades of queer cinema across the vast former substation hall, creating an immersive, slightly industrial vibe.
  • Screenings on site: A small studio cinema shows four screenings daily, with 96 films in rotation , ideal for pairing a film with your visit.
  • Talks and activism: A running programme of talks and fishbowl discussions spotlights queer activism in film and questions around representation.
  • Practical note: The show leans towards gay male cinema historically, so plan your visit around the films or talks that fill gaps you want to explore.

A bold, archival display that feels like a discovery

Step into the hall of the former power substation and you’re met with a striking, slightly theatrical sight , steel cables drooping from the ceiling, hung with photographic reproductions that scent the air with film history. The Deutsche Kinemathek has repurposed industrial space into something intimate and archival, and the effect is tactile: a little rough, full of stories. According to the Deutsche Kinemathek, the show uses objects, costumes and ephemera to sketch queer film history back as far as the Kaiserreich, giving visitors sensory entry points rather than a dry timeline.

Salzgeber at the centre: why one distributor shapes the narrative

The heart of the exhibition is the archive of the Berlin queer film distributor Salzgeber, whose holdings were transferred to the Kinemathek. Björn Koll, now the archive’s custodian and a co-curator, makes the distributor’s world the organising principle. That focus gives the show coherence, but it also means viewers get a portrait of an institution as much as a full global survey of queer cinema. If you want a broader sweep, plan to use the programme of screenings to broaden the picture beyond Salzgeber’s catalogue.

See it on screen: 96 films, a cosy studio cinema, afternoons well spent

One of the exhibition’s smartest moves is the little studio cinema that sits open to visitors. From Thursday to Sunday there are four screenings daily, adding up to 96 films across the run. That makes the exhibition both display and cinema festival: you can look at an artefact and then see how those themes play out on screen. For the practical visitor: check the schedule before you go, pick a film that complements the exhibits and allow time for both viewing and lingering over small objects in the neighbouring treasure chamber.

Talks, fishbowls and activism , the programme extends the show

Curator Toby Ashraf programmed a suite of talks that amplify the exhibition’s themes. Recent sessions have brought together activists and industry figures , from the Queer Media Society to #ActOut , to debate queerness in the film world. The fishbowl format, where everyone can join the conversation, pushes the exhibition from passive looking into active debate about networks, obstacles and representation in German film. It’s a reminder that archive work and activism often travel hand in hand.

Where the show shines , and where it could do better

The exhibition is immediately rewarding, but it isn’t neutral. As the coverage notes, the Salzgeber-centric approach skews the story: gay male cinema is better represented than lesbian or other queer cinemas. That imbalance echoes wider institutional patterns, so it’s both an honest portrait and a prompt: visit with curiosity and, if a section feels thin, use the screenings or talks to address the gaps. Museums don’t have to be definitive; they can be starting points for further exploration.

Practical tips for visitors

If you want the richest visit, plan ahead: consult the Kinemathek’s programme pages, pick a screening to pair with the exhibition, and arrive with time to explore the treasure chamber where smaller objects and documents live. The show runs in a large, airy industrial hall but don’t expect a finished museum gloss , the roughness is part of the charm. And if you care about representation, hit a talk or two; the live discussions are where the exhibition’s questions get the broadest airing.

It’s a small institutional shift with a big cultural ripple , worth seeing, and worth talking about.

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