Cate Blanchett will attend this year’s Tokyo Film Festival with a series of short films supported by her Displacement Film Fund.

TIFF will screen five short works produced with support from the Displacement Film Fund, of which Japanese brand Uniqlo is a founding partner. Following the film screenings, there will be a Q&A session with director Mohammad Rasoulof, director Shahrbanoo Sadat (Super Afghan Gym), and Blanchett. The screenings will take place the same week that Blanchett is to be honored in Tokyo with the festival’s Praemium Imperiale Award.

“I am privileged to have the opportunity to share the inaugural short films supported through the Displacement Film Fund with audiences at Tokyo International Film Festival,” Blanchett said in a statement.

“In a world where conflict and persecution are driving displacement and division, cinematic storytelling has a vital role to play in connecting with the experiences of others. Being displaced shouldn’t mean filmmakers abandon their creativity; in fact, their stories may feel even more urgent.”

The 2026 Tokyo Film Festival will run from October 26 to November 4. Scroll down to see the short projects.

5 Short Films Supported by the Displacement Film Fund

Allies in Exile (40 min., United Kingdom/Syria)
Dir: Hasan Kattan
Two Syrian filmmakers with a past shaped by war document the trauma
of waiting for asylum, using friendship and storytelling to survive exile.

Rotation (12 min., Ukraine/Turkey)
Dir: Maryna Er Gorbach
“Rotation” is a therapeutic hypnosis ritual experienced by a young
Ukrainian woman who shifted from civilian life to military service.

Sense of Water (39 min., Iran/Germany)
Dir: Mohammad Rasoulof
In the chill of exile, an Iranian writer confronts a foreign language.

Super Afghan Gym (14 min., Germany)
Dir: Shahrbanoo Sadat
In a gym in downtown Kabul, a group of housewives gathers during the
only hour of the day reserved for women.

Whispers of a Burning Scent (28 min., Somalia/Austria/Germany)
Dir: Mo Harawe
A quiet wedding musician finds his private life exposed to public scrutiny

Seriesly Berlin kept up its reputation for backing complex TV series with its latest batch of award winners.

Hands Up, a music drama series pitch from the U.S. focused on an Israeli musician and a Palestinian singer brought together in Berlin’s hip-hop scene was the winner of the Writers’ Pitch Award last night at a ceremony near the Fotografiska in Germany’s capital.

The pitch was a popular winner, with the jury unanimous on the victor and several people we spoke to agreeing on the choice. The audience cheered wildly as the announcement was made.

“Hands Up has all the ingredients to be a great series: a clear central conflict, extraordinary characters, and even great music,” said the Seriesly Berlin jury in a statement. “It is a perfect example of a hyper local premise that can serve as a metaphor, touching audiences around the world. This story shows us that creative collaboration can bridge impossible borders, providing a path to mutual understanding in troubled times.”

Coming from Neta Weiner, Samira Saraya and Michal Cooper Keren and borne out of the U.S., the story follows Israeli musician Geva and Palestinian singer Manal, who join together for a high-stakes collaboration by Petra, a former music industry figure who sees in their volatile chemistry a chance for a comeback of her own. As their music gains traction, their growing fame soon turns dangerous, and they are caught between political pressure, family expectations and ongoing public scrutiny, forcing them to risk relationships, their future and even their lives for the freedom to be heard.

The show beat of pitches from Ireland, Germany, Serbia and the UK to win the Writers Pitch award, and takes home a €1,000 ($1,150) prize.

Elsewhere, Latvian drama The Man Behind a Mask (Cilvēks Maskā) won the Co-Pro Pitch Award and landed a €25,000 post-production services prize.

The show, from creator Anna Kalnina and producer Serge Serpuhovs, follows celebrated Soviet reconstructive surgeon Nikolay, who pioneers groundbreaking procedures, including the USSR’s first sex reassignment surgery, until the KGB blackmails him into espionage.

Per the snyopsis, “His missions take him across Europe and beyond, where each medical breakthrough becomes a covert operation. Torn between his calling as a healer and his role as a spy, Nikolay is forced to betray patients, outwit intelligence agencies, and confront impossible moral choices. In the end, he survives, but returns home forever changed, having lost both his innocence and his faith in the regime.”

The jury said it was “an engaging story about power and vulnerabilities, set in an original arena and based on true events that uses spy thriller elements to create a highly entertaining show for an international audience with the potential to run for multiple seasons.”

The SteinbrennerMüller Award, which is handed out by Berlin-based PR firm SteinbrennerMüller Kommunkation to a German show with the best potential to connect with audiences, went to Hannah Doose’s I Am God (Ich Bin Gott).

The show follows eight middle-aged people in midlife who come together at a spiritual festival on the German-Polish border. Amid cacao ceremonies, breathwork and psychedelic rituals, relationships begin to unravel, families drift apart and old wounds resurface, as the festival organizers ignore warnings of an approaching tornado.

“The premise is a very clear promise of entertainment – world-building set in a nature reserve on the border between Germany and Poland,” said a rep from SteinbrennerMüller. “I Am God explores social issues in a light-hearted yet relevant way through exaggeration.

“This closed setting allows for the creation of characters who reflect all facets of society and with whom a wide audience can identify, combined with plenty of fun. Hovering over it all is the looming threat of an approaching tornado, which could wipe out all those ‘first world problems’ in an instant.”

Mayana FIlms is the producer, with Doose writing alongside Nicolas Chevaillier and Sarah Schill. Chevaillier and Zorana Mušikić are the producers.

The Seriesly Berlin conference ends today.

Rep. Joyce Beatty (D-Oh.) detailed the “tantrum” Donald Trump threw after his latest legal setback in their war over the Kennedy Center.

The congresswoman from Ohio appeared on MS NOW’s “The Weeknight” Tuesday evening, hours after a federal judge blocked the Trump-appointed Kennedy Center board’s latest attempt to add the president’s name to the institution.

“Well, we were in court right before we went into the board meeting,” Beatty, who sought emergency relief to prevent the shutdown and the name addition to the façade ahead of a special board meeting, said. “So they opened up the board meeting by informing the board that we had again, [in] Beatty v. Trump, Beatty had been victorious. And he went into a tantrum.”

As Beatty went on, she blasted the president’s reaction as “the most unprofessional thing that I’ve ever witnessed or been a part of it.” Per Beatty, Trump resorted to name calling, labeling her everything from an “obstructionist” to “dumb.”

“He said, ‘I think you’re incompetent.’ And I said, ‘I know you’re incompetent,’” she said. “And I looked to the chair … and I said, ‘Are we really going to do this? This is unprofessional.’ But I was not going to let him call me awful things.”

According to Beatty, Trump threatened that he planned to hold her responsible if something “fell out of the ceiling and killed someone.” To which she replied: “You’re already killing people. We’re at war. We also have people who are starving. You’re doing this.”

Beatty claimed Trump wanted “to talk about how great he was with developing” and that he was unfamiliar with her own legacy.

“So I reminded him that he had more bankruptcies than anybody in the room,” she said.

Watch Beatty’s full MS NOW interview below. A representative for the White House did not immediately respond to TheWrap’s request for comment.

Beatty’s MS NOW appearance came hours after the Kennedy Center board voted to immediately close the performing arts venue’s main building, which followed a federal judge’s decision to blocked their latest attempt to add Trump’s name to the venue named for former President John F. Kennedy.

The board, who were handpicked by Trump, approved the closure as part of a planned two-year, $250 million renovation. The board defended the closure by citing the institution’s worsening financial condition, as well as calling out the venue’s structural problems that allegedly threatened staff and public safety.

Beatty, who sued Trump and others over the Trump-Kennedy Center rebrand, pushed back by seeking an emergency relief to prevent the shutdown. And, earlier on Tuesday, U.S. District Judge Christopher Cooper ruled that the board could not install an inscription crediting Trump with restoring and renovating the center or rename the surrounding grounds “President Donald J. Trump Plaza.” Additionally, it was reported that the closure could not take effect unless Cooper lifted the existing injunction.

Beatty’s attorneys then told the New York Times that the center’s abrupt closure Tuesday night was “a direct violation of the court’s order and courting contempt.”