Culture – Numéro Berlin

TO WATCH: EDIE BY GIA COPPOLA

Anna Klusmeier — Wed, 17 Sep 2025 12:44:15 +0000

“Edie.” That is the title of Gia Coppola’s latest work. In the midst of the usually overcrowded Hollywood Boulevard, the American filmmaker turns intimacy into prevailing emotion. It feels like looking through Gia Coppola’s eyes – a cinematic retelling of a character study. Not only of a place near where Gia grew up, but also of a state of mind.

Inspired by Ed Ruscha’s renowned work “Every Building on the Sunset Strip”, “Edie” highlights the everyday details that are so often overlooked. Already as a child, fascinated by the chaotic poetry of Hollywood Boulevard, Gia Coppola now returns to create her own version. Armed with nothing but a small team and the Google Pixel 10 Pro.

Intimacy. The director and visual artist manages to create a keyhole moment in just a few frames. Nothing forbidden, but rather a reality shaped by childlike curiosity. Charged with humor, “Edie” reveals an entirely different side of Hollywood Boulevard.

Gia Coppola proves that less can indeed be more, and how, through a phone, the boundaries between traditional and experimental filmmaking can blur. In doing so, she reminds us that cinema’s greatest power lies not in spectacle, but in perspective.

AN OPINION ON NOTHING’S HEADPHONE (1)

Anna Klusmeier — Fri, 12 Sep 2025 13:25:19 +0000

… well, at least regarding the headphone’s design. The Headphone (1), as they are called, are both bold and beautiful to look at. Reminiscent of cassette-tapes from the 80s, the Headphone (1) feature a striking, transparent design that is unmistakable Nothing. But… what makes something Nothing?

Nothing is a British consumer electronics brand based in London. It was founded in 2020 by Carl Pei, the co-founder of the well-known smartphone manufacturer OnePlus. Nothing’s philosophy is to develop products that combine simplicity, transparency, and distinctive design at an affordable price. And so far in their young company history, it’s widely acknowledged they have been successful with their approach. In a field often called out for its lacking user-feedback integration, Nothing sets out to provide user-first experiences. Whether that be through smartphones, smart-watches or headphones – they stick close to their community’s wishes and listen to feedback.

Amidst the rapid, ever-changing tech-industry, Nothing manages to stay true to its core principles. With the Headphone (1), they challenge their iconic design-language in innovative ways while adhering to their heritage’s inspiration, Teenage Engineering. Handled by some as the design-first tech-company of the 21st century, their timeless, industrial inspired design calls back to the 1980s. Beautiful, functional and intuitive. – Just like Nothing’s products. Teenage Engineering isn’t the only brand that influenced the design of Headphone (1) though. Global Design Director at Nothing, Adam Bates, worked many years as Head of Design at Dyson. The company mainly known for their vacuums gained a lot of recognition for their beautiful and durable industrial design. Adam Bates made it his mission to continue developing appealing, functional products when he joined Nothing in 2022. And appealing and functional products he developed!

Back to the Headphone (1): Of course, design isn’t everything, but even when focusing solely on the features and specs, the company’s first entry into the over-ear headphone market doesn’t disappoint in the slightest. They feature an ambitious sound profile, developed in cooperation with British speaker manufacturer KEF. Even though the quality is by no means perfect, it fits the expectations coming from a 300€ pair of over-ear noise-canceling headphones. And the added bonus of an integrated equalizer in the dedicated app makes for a flawless adjustment of the sound, whenever needed. As a cherry on top, the Headphone (1) feature a broad pallet of quality-of-life features, like intuitive button-controls on the outside, a transparency mode and support for spatial audio.

Considering the style-factor of the headphones, Nothing managed to create a package, worthy of competing with the best of the best in the high-end over-ear headphone market. But really, the main selling point of the Headphone (1) is their design…– We are excited to see what is next for Nothing‘s headphones. The industry needs more innovative companies, that challenge the given and question the status quo. When happening in terms of product-design, even better!

TO WATCH: HOW TO BE NORMAL AND THE ODDNESS OF THE OTHER WORLD BY FLORIAN POCHLATKO

Anna Klusmeier — Wed, 10 Sep 2025 16:48:58 +0000

Like so many others, Pia is confronted with a life-changing question: “Who am I?” While some, in search of their true selves, take up new hobbies, step away from work, or return to the comfort of family and friends, Pia insists on her right to be different. Different from her unhelpful therapists, glorifying parents, and stigmatizing colleagues.

After her stay in a psychiatric clinic, Pia, in her mid-twenties, begins the process of reintegrating into her old, familiar life. A life defined by normality. People with normal jobs, normal families, and normal expectations of what life should be. But shouldn’t it be just as valid to be different?

The right to otherness and the weight of societal expectations becomes the central theme of “How to be normal”. A film by Florian Pochlatko, in which mental health is no longer treated as a private matter but staged as a public spectacle. Everyone seems to have an opinion about how Pia should behave after her treatment and what might help her most in this moment—but has anyone actually asked Pia herself?

It is about the friction between self-image and the perceptions of others, about the risk of losing one’s own face in the mirror of expectations. Yet maybe the face was never lost. Only shifted. Waiting to be uncovered again. Not a return to normality, but a departure, toward the future with an even brighter sense of otherness.

CARTIER CELEBRATES THE ICONIC PANTHER – IN THE WILD

Anna Klusmeier — Mon, 01 Sep 2025 12:08:10 +0000

On September 1st Cartier proudly presents their latest campaign which places their famous brand motif — the Panther — in the spotlight in an entirely new way.

The motif of the Panther is inseparably linked to Cartier. The new campaign by the jewelry house highlights it once again: The Panther is the centerpiece of a series of innovative open-air images that are being displayed simultaneously in major cities around the world, with two kinetic events taking place in Shibuya starting on 1st September and Las Vegas on 3rd September.

The extravagant campaign launch is one for the history books: In Las Vegas, the Panther sits in three dimensions inside Sphere, a glass dome featuring a 53,883 m² screen. In Tokyo, Cartier chose the bustling Shibuya Crossing to showcase its iconic animal in a monumental triptych – to kickstart the campaign not with a bang, but with a roar!

But that’s not all: In other cities across the globe – from Dubai and Shanghai to Paris – Cartier and the Panther merge in larger-than-life displays. Each of these magical experiences for the general public celebrates the Cartier Panther, her freedom, her power and her strength of character.

Driven by the same power, magnetism and strength of character, Cartier and the Panther are inseparable. It all began in 1914 when the animal had its first appearance in the form of a watch adorned with onyx and diamonds. Under the legendary creative director Jeanne Toussaint, it eventually became a recurring signature motif of the house. Toussaint, who herself earned the nickname “LA PANTHÈRE” for her sharp intellect and determination, collaborated with illustrator Pierre Lemarchand, who often visited the Vincennes Zoo in the 1940s, to create one of the most iconic jewelry pieces of the 20th century: a brooch featuring a striking 116-carat cabochon-cut emerald crowned by a proud Panther. A piece of jewelry that perfectly embodies the exceptional craftsmanship of the Maison. Whether naturalistic, sculptural or abstract in design — since then, the Panther has taken on countless forms and shapes in Cartier’s collections.

Then as now, the Panther symbolizes the spirit of Cartier — instantly recognizable around the world and deeply connected with a unique emotionality.

FIGHT ISSUE VOL. B – DESTROY LONELY

Anna Klusmeier — Thu, 28 Aug 2025 15:56:26 +0000

MYSTERY MAKES MYTH

DESTROY LONELY IN CONVERSATION WITH HELLA SCHNEIDER

ASK A KID ONLINE AND THERE’S NOTHING MORE “CULTURE” THAN OPIUM. AND THERE’S NO ONE MORE OPIUM THAN DESTROY LONELY, EXEPT PERHAPS PLAYBOI CARTI, THE FOUNDER OF THE INFLUENTIAL RECORD LABEL, THAT IS – OF COURSE – MUCH MORE THAN THAT, A LOOK, A VIBE, A SOUND, A CULT, SO TO SAY. MOVING BETWEEN THE DARKNESS AND THE LIGHT, A HEAVY RICHNESS AND AN AIRY SIMPLICITY, BOTH IN TERMS OF MUSIC AND AESTHETICS, DESTROY LONELY IS NOT ONE FOR BLUNT TRUTHS, DESPITE THE OPIUM STAMPS AND BOXES HE TENDS TO BE SEEN IN. HE IS A MYSTERY AND HE IS NOT, AND THAT’S WHAT MAKES THE MYTH, NO F I G H T NEEDED.

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I heard you’ve been in the studio with your Opium fellow Ken Carson these days – people are obviously hyped about what’s to come.

I feel like we should have done this a long time ago. Hopefully it’ll come out at some point this year.

Does the outcome feel very different when you’re in the studio with him other than when you’re on your own? I imagine you guys potentially feeling like a unity anyway.

It’s definitely a unity kind of thing. I’ve been recording with Ken my whole career, and it never feels unnatural or weird. We just push each other to go harder.

You’re both essential parts of Opium, Playboi Carti’s record label that’s much more than a record label. People like to call it a cult, for different reasons. You have described it as family.

Opium is a family thing and a blessing and an opportunity and a responsibility and a job. For me, the main aspect is family, but the only thing that has changed over time is that it has become this huge thing in culture, so that for all of us, it is becoming a responsibility to keep pushing things forward. For me personally, it means staying on top of myself as an artist and staying in tune with what we’re doing as a label.

Does it ever feel limiting? Can Opium be both a blessing and a curse?

Hell no – I was Opium before I was Opium. It’s part of my life, and I wouldn’t change it for nothing. I signed with Opium for a reason.

If I ever felt like there would be any negatives to it, I would have never signed. Opium matches what I am as a person anyway

– people like to dumb it down to aesthetics or a certain sound, but for me, this shit is in my blood.

HS From your internal point of view, what makes something or someone Opium?

From your internal point of view, what makes something or someone Opium?

The only thing that is Opium is us – we don’t wake up in the morning and think about what might be the most Opium thing. That’s

a very internet way of looking at it. Yes, there is the sound, the swag, the vibes, the aesthetics – but that’s just us being us, and then

people want to take that and run with it. That’s their own labels that they put on.

Does it come easy to you to stay connected to yourself?

The more I grow as an artist, the more I try to become even more connected with myself. There are a lot of outside factors that can get in your way and make you think differently about certain things. So for me, there is an urgency to always stay true to life. To who I am as Bobby. The further I go down this road, I know that’s what got me here. I want to make sure I stay true to that forever. I don’t ever want to wake up one day and look in the mirror and have to think: Man, what the fuck am I doing? It’s important for me to be with my family, be at home.

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You also strike me as an artist with a – let’s say – timeless approach.

I try to be as timeless as possible. I believe in longevity more than anything, but I go through phases of myself. One album or a couple months of the year, I want to sound or look like this, and then maybe right after that, I want to sound or look like something else. But it’s all just evolved versions of myself and what I see in my head. But the big umbrella to it all is timelessness and longevity. I still want to be Destroy Lonely when I’m, like, 65.

Are there any words you like to put on the timeless elements in both your sound and your aesthetics?

I try to tell my story or a version of my story that’s in tune with what’s going on with either my life in the moment or just the mess of youth. I aim to keep it broad enough so a lot of people can relate to it. And then I feel like with that, that’s how you break through with timelessness. Because if somebody can relate to it now and it’s easily digestible, then maybe a kid in 20 years would also still be able to relate to it. I experience that myself. I’m currently going through a phase of finding a lot of old music and old musicians – rock stars – that I’m just now learning to love. And these records were made decades ago, but they’re still resonating with me today.

Which rock stars?

Ozzy Osbourne, Mötley Crüe, Marilyn Manson. A bunch of different acts, but always people that stayed true to what they loved and what they wanted to present to the world.

I mean, that’s the quintessential idea of rock’n’roll – being true to yourself and your expression and supposedly not caring. It’s more an idea than a genre, in some ways, and it’s not surprising that this is having a moment.

It just grew in its own timelessness and today there’s people like us from Opium. Everything evolves. Energy can’t be destroyed. When you have something as legendary as rock’n’roll, it’s always gonna come back as something new. It will be the same with rap.

Rap is in a crisis right now, for sure.

I agree. It’s because there’s just not a lot of pure, natural inspiration anymore. That’s at least my take on it. I don’t want to be pretentious or self righteous, but I feel like after the boom around the likes of me and Ken and other artists from our specific generation, it just turned into everybody wanting to be this. And everybody wants to be famous and everybody wants to copy whatever already worked and just do it as quickly as possible. It does a disservice to the culture and the genre. I remember when I started, it was just purely inspiration. I just wanted to share who I thought I was to the world. Not for money, not to look cool. It was just what was in me. Whereas I now feel like a lot of artists, new and even established, don’t even care about the love for making music no more. It’s just simply about a check or a show or a brand deal or to sell clothes or shoes. Everybody looks at it more so as a business now and there’s just no inspiration or love for artistry anymore.

And just by the simple laws of energy, this can’t work long term.

No, not at all.

Even though – unfortunately – on the other hand, with the dynamics of social media and internet culture, it is at least working in the moment.

Definitely. I feel like social media single-handedly, completely murdered art. I hate what social media has done to music or art in general. And I am saying this even though I don’t think I would be as prominent or exist as I do without social media. But there definitely are a lot of negatives that come with how fast everything moves.

“A LOT OF ARTISTS, NEW AND EVEN ESTABLISHED, DON’T EVEN CARE ABOUT THE LOVE FOR MAKING MUSIC NO MORE. IT’S JUST SIMPLY ABOUT A CHECK OR A SHOW OR A BRAND DEAL OR TO SELL CLOTHES OR SHOES. I FEEL LIKE SOCIAL MEDIA SINGLE-HANDEDLY, COMPLETELY MURDERED ART. I HATE WHAT SOCIAL MEDIA HAS DONE TO MUSIC OR ART IN GENERAL. AND I AM SAYING THIS EVEN THOUGH I DON’T THINK I WOULD BE AS PROMINENT OR EXIST AS I DO W I T H O U T
S O C I A L M E D I A . ”

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All of you Opium guys seem to have basically hacked internet culture through scarcity. The mystery is a big part of the fascination and obsession.

We just don’t want to over-saturate. I don’t want to be in everybody’s face all day. When I have something to show, I want my fans to dive into it. Other than that, I feel like being present online is pointless.

With the influence you have, has it grown harder to stay connected to your fans?

I still get to do things such as seeing my fans in person – after the shows I’ll talk to them, I’ll get to meet a random kid who will tell me about themselves or their day or what they want to do. And then maybe I store that in the back of my head and it might give me motivation to create something. I might feel like creating a specific song for them. And then that ends up reaching millions of people later. Having this wider view of what’s going on also makes a lot of things easier, whereas when you’re just starting, it’s only you and whatever is inspiring you and you just go off yourself.

IIs there a certain heaviness to the influence?

There is a weight on my shoulders, but it’s not a bad weight. I would compare it to carrying your favorite designer bag that you almost don’t want to carry because it’s so precious, but you also love it so much. You’re just concerned constantly because you don’t want to mess it up. In my head, I definitely have a lot of back and forth of making the wrong moves or setting myself back or even just leading people the wrong way sometimes. I don’t look at myself as a role model but I also don’t ever want somebody to feel like I influenced them to do something bad. So I always take into account how I carry myself and how much that means to a kid that looks up to me.

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Are you a spiritual person?

Super spiritual. More spiritual than anything.

What do you believe in?

To simplify it: Throughout anything you do in life, you get out what you put in. I always make sure I stand on the good side of the universe, I always strive for positivity. There are a lot of times where I could think myself into the darkest place, but I just have to look at the end goal and make sure I get there and not let the noise make me crazy.

Do you rather use the term universe than God?

I believe in a lot of different things and a lot of different ways of life. So I don’t use the universe as a replacement for God. But I feel like the universe gives you certain things and then God gives you certain things. It just depends on how you play the game.

Is the darkness that people see in you something internal or something external?

I think the darkness is just a certain reflection of me. The Opiumish things that people like to see are just resonating to how I feel on the inside. I always just like darker things, I like rainy days over sunny days, I like nighttime more than daytime. That’s just who I am as a person. But there isn’t necessarily too much to it. There are people who like to wear pink shoes and rainbow clothes and we just like black.

Do you still find obscure or uncanny influences anywhere? It seems like everyone is pulling the same references these days, like everything is mainstream now, basically.

Everything has been done before and everyone has already dipped and dabbled into everything under the sun. So I don’t even look for the most uncanny or obscure. I just look for the most comfortable and most genuine. If something speaks to me it speaks to me, and I’ll be running with it.

What’s the last thing that blew your mind?

I usually love movies, but there hasn’t been any movie made within the last ten years I truly would have loved. Same for video games, actually.

I heard you recently went to Berghain.

Oh, yes, that actually blew my mind!

I am glad to hear that.

That’s definitely different, yes. There is no other place on earth where you can be so yourself, no matter who you are.

As cliché as it sounds, there is so much beauty in a place being all about freedom.

Yes, and for that specific reason, it blew my mind. It’s individuality, it’s great music, it’s a crazy sound system, it’s people doing whatever the fuck they want. No rules. People like to dumb it down to the erotic side of it, but it’s so much deeper than that. It’s individuality and freedom and everything that comes with that is whatever comes with it, but this is what is the purpose. And I’ve been in a lot of rave places, but nothing is like Berghain.

People might be surprised you’d be into techno.

I love it. I love music, genuinely. I take bits and pieces of it and put it into my own music however I can, wherever I see a fit. All genres of music speak to me.

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TO WATCH: “SOUND OF FALLING” BY MASCHA SCHILISNKI

Anna Klusmeier — Wed, 27 Aug 2025 14:42:53 +0000

The sound of falling is unsettling — sudden, inevitable, and hard to ignore. Much like this film, it lingers with a sense of unease and melancholy. Sound of Falling by Mascha Schilinski unfolds across four timelines spanning one hundred years, all connected by a single farm in the Altmark region of Germany. The lives of the people who inhabit this place, with a particular focus on the women, are told through interwoven strands of time and memory.
With striking set design and costumes, the characters are brought to life in their full complexity and uniqueness, evoking a strong yet uneasy sense of nostalgia. The inhabitants are deeply marked by the different eras they happen to live in, while the women in particular must endure the intrusiveness and oppression of the men on the small farm. Camera angles and, at times, unsettling editing amplify the emotions of the different characters, while visual effects like lens flares and sweeping camera movements occasionally overwhelm, while still contributing to the density of the films entangled narrative.

Recurring elements across the different time periods strengthen the sense of interconnection, while also highlighting the weight of inherited trauma that threads through generations.

Already awarded the Jury Prize at Cannes, Sound of Falling stands as a haunting meditation on history, memory and the enduring impact of time.