Josephine

In a veritable display of saving the best for last, the final film premiering in the 2026 Berlinale Competition is Sundance winner Josephine. 

The eponymous protagonist is eight years old, living in San Francisco, but an avid soccer player and Liverpool fan, thanks to her father Damien (Channing Tatum). During one of their training sessions in the park, the young girl becomes the unexpected witness of a sexual assault.  

In her sophomore feature, director Beth de Araújo wholeheartedly commits herself to the complex perspective of a child. Certain things about the attack Josephine doesn’t comprehend, while simultaneously there is a practically instinctual understanding of others. Her inner turmoil is not helped by the fact that her parents find themselves at an impasse on how to address the situation with her. As their different approaches clash, Josephine’s confusion and fear manifest as extreme hypervigilance. 

Like in her debut, Soft and Quiet, which largely stood out through continuous long takes (seamlessly matched to give the impression of a single shot), de Araújo steadfastly refuses to avert her gaze. This time the visual language is more varied, includes shots from Josephine’s point of view, but the relentlessness to the camera persists. She doesn’t cut away for comfort, but stays with scenes to expose the full weight of their reality. Moments of levity function as if in a game of tetherball: inevitably the gravitas swings back around with undiminished force, and hits you when you least expect it. Besides grappling with the challenge of making a child aware of the world’s dangers, the narrative acknowledges the tediousness of the American legal system. If the constant redirection between state prosecutor and defence attorney in Josephine’s testimony wears down the audience, how must it feel to an eight-year-old?  

In a remarkable debut performance, Mason Reeves carries the film, embodying Josephine with the full innocence of a child who hasn’t been raised in or polished by the industry. Her silent glances speak just as loudly as her parroting of the things she observes. While Tatum has taken on serious parts every now and again, his performance in Josephine confirms his range beyond doubt. Beneath his outwardly practical manner of helping his daughter (signing her up for self-defence classes, encouraging her to testify) lies a profound emotional depth. As he tries to be strong for those around him, we only see the little glimpses of vulnerability whenever Josephine catches him slip. Gemma Chan, as Claire, completes the family dynamic, bringing tenderness and subtlety to her role as the protective mother. 

Josephine is a masterful exploration of trauma, family and resilience. Too often the slogans about protecting daughters and educating sons fail to take into account the subtle, complex lessons children absorb about sexual consent. De Araújo’s unflinching attention to emotional truth makes her second feature one of the early standouts of the year – and indispensable for any parent. 

Selina Sondermann

Josephine does not have a release date yet.

Read more reviews from our Berlin Film Festival coverage here.

For further information about the event visit the Berlin Film Festival website here.