News – Numéro Berlin

FROM A QUIET DINNER TO ROSALÍAS EX-BOYFRIENDS

Anna Klusmeier — Mon, 04 May 2026 16:28:57 +0000

One Evening, Two Rooms: New Balance x Numéro Berlin

Berlin evenings have a way of starting in one place and ending somewhere you didn’t plan for. Last Wednesday that wasn’t a figure of speech.

The occasion was the 204L. New Balance’s latest silhouette carries a specific logic: understated on the surface, more considered underneath. It’s also the shoe that connects New Balance to Rosalía — not through a traditional campaign, but through a shared sensibility. Something that moves between worlds without needing to explain itself. The evening was built around exactly that idea.

Numéro Berlin and New Balance brought a small group together for dinner. No agenda, no itinerary, just a long table, good light, and people arriving in their own time. Niki Pauls, Hella Schneider, Lee Stuart, Alex Huber, Lily Meuser, Dustin Hanke. A mix that didn’t need much introduction or explanation. The table itself carried references to Rosalía’s world. The menu moved through the textures and contrasts of her LUX era — dishes that shifted register the way her music does, from something raw and instinctive to something precise and almost architectural. It wasn’t labelled or explained. It was just there for those who noticed.

Conversations started, split off into other conversations, got lost for a while, then resurfaced somewhere else down the table. People stayed longer than they probably planned to. That part felt important. The absence of a schedule, the sense that nobody was rushing toward the next thing.

There’s something specific about that format. A dinner that isn’t a press dinner, a group that isn’t a panel. No one was there to perform a role or represent something. The table had a looseness to it, the kind that only works when the mix is right and nobody is trying too hard. Food came and went, glasses got refilled, and the evening stretched in the way good evenings do. Slowly, without anyone noticing it happening. At some point the room got quieter, not because the energy dropped but because something had settled.

Then at some point, coats came back on.

The jump from a quiet dinner to the middle of a Rosalía crowd is its own kind of whiplash. From something drawn-out and intimate to something immediately loud and physical. The shift was fast. One moment you’re still half in a conversation from an hour ago, the next you’re in the density of a packed room and everything before it feels very far away.

The show was dense. Physically, sonically, conceptually. It sat somewhere between a pop concert and something more like a choreographed installation, though it never felt cold or detached. La Horde’s dancers gave it a sharp, almost confrontational edge. Their movement style somewhere between contemporary dance and something rawer, less composed. The staging swung between stripped-back and suddenly overwhelming. Minimal one moment, then maximal without much warning. Set design and costumes carried that same logic. Nothing decorative, everything deliberate. The same contradictions that ran through the dinner were suddenly blown up to full scale.

And then, somewhere in the middle of all that precision and construction, she started casually talking about Berghain and ex-boyfriends. No real segue, just a shift in register. Suddenly more monologue than performance, almost like an aside. The room laughed. It landed. That contrast between the tightly controlled world she’d built around herself and this sudden, offhand directness was probably the most interesting thing about the whole show. And somehow the most honest articulation of what the 204L is about too. Rigorous and relaxed at once.

What held everything together was her presence, and specifically her ability to move between registers without losing the thread. Controlled and performative one second, then suddenly relaxed and conversational. Sympathetic, funny, self-aware and at the same time very clearly the one running the room. The voice held up live without any caveats. Precise and strong in the bigger moments, and just as convincing in the quieter, more exposed ones.

By the time it ended, the earlier dinner felt both distant and strangely connected. The same group now scattered somewhere in the crowd, having shared something more collective than a table. The shoe, the show, the food, the people — separate things that, for one evening, made a kind of sense together.

In conversation with Marcel Dettmann

Anna Klusmeier — Mon, 30 Mar 2026 17:07:18 +0000

In this conversation, pioneering techno DJ and producer Marcel Dettmann reflects on his early days growing up in East Germany, tracing the evolution of music culture from the 1990s to today. He speaks on how environment, instinct and emotion continue to shape his work moving from cassette tapes and record store discoveries to global touring and creative independence.

Ahead of his set at Funkhaus Berlin, the historic riverside radio complex, Dettmann shares a deeply personal perspective on art and staying true to one’s own path. The performance marked a special moment: celebrating Emporio Armani’s arrival in Berlin and the launch of a new global party series called ‘Cityframes’, debuting in the city before traveling to major destinations worldwide.

Nicole Atieno: You’ve spoken before about growing up in East Germany and being close to the Berlin Wall. Do those early experiences still feel present to you today?

Marcel Dettmann: Yeah, definitely. I grew up in the countryside, and my grandparents lived in the East, close to where the wall was. When I was around 12, it came down. Before that, it was still very present, you had memorial sites, remains of it, this whole atmosphere. It was a crazy time. And what’s strange is how I remember it now, it feels like it was just a few years ago. When I talk about the early or mid-’90s, I still feel like that was recent. But it’s 30 years ago. Back then I was 19 or 20, and it had a huge influence on me. In the bigger picture, it’s a long time. But when you’ve lived it, it doesn’t feel like much. And I think the next 30 years will go even faster, especially when you have a family. I’ve been married for 16 years now. It’s a long time but it’s great.

When you think back to that time, what did discovering music feel like?

It was very different. It was harder but in a good way. There was no social media telling you what you should like. You had to search for things. I grew up recording radio shows on cassette tapes. There were certain programs where they would let the track play from the beginning and you knew, okay, now I can record it. Then you’d listen to those tapes again and again, share them with friends, make mixtapes. That was amazing. I loved bringing music to my friends and saying, “This is it, you have to hear this.” That feeling is actually one of the reasons I became a DJ. And when I listen to music from that time now, it’s like a family album. You carry it with you. Sometimes you open it and suddenly remember everything, people, moments, feelings. You hear a track and you feel like you’re 16 again. That never goes away.

Do you think that sense of discovery still exists today?

It’s different. Today everything is instant. You get files, you listen to them on your phone, you store them, it’s all very easy. And of course, there are advantages. I get music early, I can play unreleased tracks months before they come out. But the value changes. Back then, you had to go from store to store to find something. Sometimes it was sold out, sometimes you got lucky. And when you finally had it, it felt special. Today everything is available immediately. That’s convenient, but it also flattens things out. You don’t build a relationship to music in the same way. Now it’s more like someone says, “Here, you’ll like this,” and you listen and say, “Yeah, okay, nice.” But when you have to search, when you really want something, it means more. I think that makes it harder today, especially for younger people, to understand what they really love. Because everything is available, everything is suggested to you. But the obvious stuff, the things everyone likes, can get boring. It’s important to find your own taste, your own style. That’s essential.

That idea of sharing music, how does that translate into how you play for a crowd today?

It’s still the same feeling in a way, but more complex. When you’re DJing, you’re dealing with a lot of different emotions at once. Some people are excited, some are tired, some are waiting for something specific, others just go with the flow. It’s like working with an instrument, like an organ. You have all these different layers, and you have to feel how to bring them together. And it’s never perfect. Sometimes it works, sometimes it doesn’t. But that’s important. If everything is always smooth and nice, it becomes boring. You need dynamics, good nights, difficult nights. Also, not everything you do is for everyone. You can create something amazing, but some people won’t connect with it. That’s something you have to accept as an artist.

When you arrive at a venue, especially one that’s not a typical club setting, how much can you really prepare?

You can prepare in the studio, but once you’re there, everything changes. You might think, okay, I’ll play this and then this but then you arrive and you feel, no, that’s not going to work. So you need a direction, but also the flexibility to change immediately. For me, the most important thing is that I feel good with what I’m doing. If I’m happy, the crowd will feel that. It’s not about playing what you think people expect, that’s boring. At some point you stop thinking in categories. You just react. And the space matters a lot too. The architecture, the atmosphere, it all influences how things feel. Whether it’s a basement, a bunker, or an art space, it changes the energy.

Berlin has this very strong image, dark, rough, very “techno.” Do you feel that reflects reality?

Sometimes, but it’s also funny. People say that, and then I look at myself and I’m wearing something colorful. Berlin does have a certain mood, but for me it’s more about freedom. It’s one of the freest places in the world. It’s free, but not necessarily supportive. At the same time, it’s not easy. I know a lot of amazing artists who struggle, who have to take other jobs because there’s not enough support. That’s something that doesn’t make sense to me.

When you’re playing in a context where fashion and music meet, do you see a connection between the two?

Fashion moves faster, music stays longer. But both rely on instinct. You don’t always know why something works. At some point you stop thinking in names or scenes. You just react to what feels right.

Your new EP My Own Shadow was released end of last year. How did that come about?

It wasn’t planned. These were sketches over time. At some point they made sense together. My Own Shadow is not separate from what I do. It’s just another angle of it. Same ideas, different focus. I don’t plan releases. I just work. There’s more coming soon. Another EP, and an album later this year.

Are your kids interested in music as well?

Yeah, my son comes into the studio sometimes. He makes hip-hop tracks with his friends. I help them with beats on a drum machine. Last time they made a song about a lunchbox, it was really funny. And some of his friends say they want to be DJs. Their parents ask me what they should buy, but I always say: first find the music you love. It’s not like football. It starts with passion. Everything else comes after.

What does music mean to you personally today?

It’s my escape. Even my therapist says that. It gives me freedom, it gives me peace. It’s just me in the studio, doing what I love. And honestly, that’s enough.

OOR Studio, Götz Offergeld and Heinrich Dinkelacker Announce Long-Term Creative Collaboration

Anna Klusmeier — Fri, 27 Mar 2026 14:24:57 +0000

What began as a limited project now evolves into a long-term partnership rooted in shared values, craftsmanship, and cultural relevance.

Starting this season, Götz Offergeld will develop a capsule collection of three to four styles twice a year for the Heinrich Dinkelacker assortment. The collaboration is based on a shared creative direction, merging Dinkelacker’s heritage shoemaking expertise with OOR Studio’s contemporary, culturally driven approach to design.

Founded on the belief that fashion exists at the intersection of culture, art, and luxury, OOR Studio challenges traditional design standards through collective thinking and interdisciplinary collaboration. Based in Berlin, the studio draws inspiration from the city’s creative freedom, resistance to convention, and constant dialogue between past and future.

Heinrich Dinkelacker is known for its uncompromising craftsmanship and time-honored shoemaking traditions. For over 100 years, the company has been producing shoes at a level that is truly unmatched. In industrial shoe production, a shoe remains on the last for less than an hour – in Dinkelacker’s manufactory, however, it stays there for up to six days. The result is nothing less than the highest level of fit a shoe lover can expect. With this commitment to excellence, the heritage house finds a natural counterpart in OOR Studio’s perspective. Together, the two partners aim to reinterpret classic forms through a modern lens – respecting heritage while allowing space for experimentation, attitude, and contemporary expression.

The ongoing collaboration reflects a shared ambition: to create products that are not only made to last, but also resonate culturally. Each seasonal contribution will balance precision and emotion, tradition and progression, reinforcing a dialogue between craftsmanship and creative freedom.

About OOR Studio

OOR Studio is the creative studio and cultural arm of Off One’s Rocker Publishing House led by Götz Offergeld, the Berlin-based publisher behind Fräulein, Numéro Berlin and Numéro Homme Berlin. Positioned at the intersection of fashion, culture and luxury, OOR Studio operates as a collective platform for creative direction, design and interdisciplinary collaboration. Rooted in Berlin’s spirit of freedom and resistance, the studio challenges conventions and develops contemporary narratives shaped by courage, cultural awareness and creative autonomy.

About Heinrich Dinkelacker

Founded in 1879 in Sindelfingen, Germany, Heinrich Dinkelacker is one of the country’s most renowned luxury shoemakers, celebrated for its meticulously crafted Goodyear-welted footwear. Each pair is produced through hundreds of precise manual steps using premium leathers, reflecting a long-standing commitment to durability, precision, and timeless design. Today, the brand combines its German heritage with European craftsmanship expertise, maintaining its reputation for uncompromising quality and understated elegance.

Christian Stemmler — ANFANG / BEGINNING: BERLIN 1994–99

Anna Klusmeier — Tue, 04 Nov 2025 10:22:18 +0000

Between 1994 and 1999, Berlin stood at a threshold, still marked by the traces of division yet already vibrating with a new kind of energy. It was a city that had not yet decided what it wanted to become, a space of contradictions and experiments, raw and unfinished. In ANFANG / BEGINNING, Christian Stemmler revisits this uncertain yet fertile moment through his own photographs, a collection that functions less as documentation and more as a lived memory of transformation. His images trace a city and a generation in motion: nights that blur into mornings, fleeting friendships, and rooms filled with both exhaustion and desire.

What began as a private act, taking photographs without purpose or audience, has turned almost three decades later into a visual testimony of an era that feels distant and yet strangely familiar. Stemmler’s images were made instinctively, without a sense of belonging to a photographic discourse. They emerged from daily life: improvised portraits on wrinkled bedsheets, snapshots in smoky clubs, fragments of faces and gestures captured on public transport or in shared flats. In their unpolished immediacy, they reveal a city that was still learning to breathe again, open, unpredictable, and porous.

Viewed today, these photographs are more than remnants of youth; they are fragments of a collective state of mind. They show Berlin before it was redefined by capital and global attention, when chaos and creativity existed side by side and possibility seemed endless. Stemmler’s return to these negatives—scanning, revisiting, remembering—becomes a quiet act of excavation. It is less about looking back than about reconnecting with a time, a feeling, and the reasons one begins to create in the first place.

ANFANG / BEGINNING unfolds as both remembrance and renewal. It reflects the vitality of a city that has always been a projection surface for ideas of freedom, and it marks the reawakening of an artist who once set the camera aside. The images resist nostalgia; instead, they evoke a form of sincerity that feels rare today, a closeness to life that is neither curated nor composed. Stemmler’s Berlin was rough, direct, and unguarded. His photographs preserve that atmosphere, allowing it to linger: the noise of a night that never really ended, and the quiet that always followed.

The second edition of ANFANG / BEGINNING: BERLIN 1994–99 will be launched on November 6, 2025, at Voo Store, Oranienstraße 24, Berlin — an opportunity to experience Stemmler’s work in direct conversation with the spirit of its time and to immerse oneself in the atmosphere of a Berlin that no longer exists.

VISIONARY ETERNITY

Anna Klusmeier — Thu, 16 Oct 2025 11:06:42 +0000

UNVEILING THE NEW MERCEDES SHOWCAR: THE VISION ICONIC

In one of the opening speeches leading up to the unveiling of the Vision Iconic, taking place in Shanghai, Ma Yansong, head of MAD Architects said: „When old and new becomes intertwined, then you achieve a feeling of eternity.“ A few minutes later, Gorden Wagener, Chief Design Officer of the Mercedes Benz Group drew back the vibrant red cloth covering the show car, unveiling an automotive that perfectly encapsulated the eternity that Ma spoke of. The Vision iconic is both familiar and surprising, innovative and an instant classic.

Taking the proportions of the 1930 Autobahn Courier, it materializes as a homage to the Art Deco movement and celebrates Mercedes now almost hundred year old heritage. The front of the Vision Iconic shows a reinterpretation of the iconic Mercedes Benz chrome grille, supplemented with an additional, upright-standing illuminated star on the hood. The rear, with its narrow tail lights and rounded shape is reminiscent of 300 SL Gullwing. Instead of the screen-heavy interior we are used to from new car designs, the Vision Iconic takes a step back and instead chooses the combined power of digital and analogue. A dual seating bench dressed in blue velvet is facing an oblong glass console, endearingly coined „The Zeppelin“. There is nothing overtly digital which could pose as a disruption to the classic, almost lounge like atmosphere. New-age technology, including AI-assistance is seamlessly integrated into the interior.

The design of the Vision Iconic is clearly one that respects the brands heritage, and it shows that this act of looking back is no reason for a lack of innovation; quite on the contrary. Mercedes Benz as a brand is so successful and keeps on pushing what is possible, because it respects its own past. In Gorden Wagners words:

The Vision Iconic exemplifies the sensual and functional purity that is so essential to the identity of Mercedes. It’s not made to be an object, but built to forge an emotional connection. It’s not just a car, but the proposition of a „third place“. One could say: It’s the place that connects all places.

This entire world premiere was more than „just a car unveiling“. It was a celebration of the brand and its closest collaborators, a celebration of design and new challenges and a celebration of Shanghai as an exemplary place of the future. Taking place during the closing days of Shanghai fashion week, it also build bridges between unlikely disciplines. A Capsule-Collection was presented as a lead up to the Vision iconic reveal, capturing the visual language and detail-driven essence of the art-deco era. A mandarin collar inspired Mens blouse further payed homage to the city of Shanghai and the collaboration of continents that is so essential for the Mercedes brand.

The design of the Vision Iconic points towards a future in which we can hopefully find a balance between analogue and digital. A future in which the wide spectrum of human creation, from craftsmanship, technology and AI, can come together, beautifully, balanced and seamlessly, to lead the way. The term Mobility after all should not only be understood in a literal way. Mobility and the innovation that shapes it also address the overall direction that humanity is heading towards. Mobility is future-making, Mobility is human. Automobiles are human.

Who sits inside? Who drives? Where are they going? How do they see the world? It’s not necessarily the everyday-man that comes to mind as an answer to these questions – and yet it is. Our future sits inside. It’s a vision of luxury, of glamour and a celebration of modernity and global collaboration. Showcars show the extreme of what’s possible, of what’s imaginable, of what can be true. In an era of „Obvious AI“ and a tendency for the hyper digital, the strong voice of the analogue components make a clear statement on how we should approach our life. We should dream and imagine while knowing our past. We should be visionary. And what is more visionary than something that is made to be eternal?

GUCCI: THE ART OF SILK

Anna Klusmeier — Mon, 14 Apr 2025 16:25:29 +0000

Gucci unveils The Art of Silk, a project that celebrates the brand’s heritage in silk craftsmanship while exploring new artistic expressions. The campaign, starring actress Julia Garner and photographed by Steven Meisel, captures the fluid beauty of silk in motion, set against the backdrop of a city at night.
At its core is Gucci’s iconic Flora motif, a timeless symbol of elegance that continues to evolve for a modern audience. Whether worn as a scarf, draped effortlessly, or caught mid-motion, silk remains a defining element of Gucci’s legacy, embodying both sophistication and self-expression.

Keep it Gucci: The Art of Silk

Through Steven Meisel’s lens, The Art of Silk campaign tells a visual story of mystery, movement and allure. The nocturnal setting enhances the interplay of light and fabric, transforming silk into more than just material: it becomes an extension of the wearer’s personality. Gucci’s Flora motif takes center stage, reinforcing the House’s enduring spirit and timeless craftsmanship in every delicate fold and drape.

90 x 90 Project

As part of this celebration, Gucci introduces the 90 x 90 Project, a creative initiative where nine international artists reimagine five signature scarf themes: Flora, fauna, nautical, equestrian, and the GG Monogram. The name reflects the classic 90 cm x 90 cm silk twill scarf, which serves as both a fashion piece and an artistic canvas. The participating artists, including Robert Barry, Everett Glenn, and Sara Leghissa, bring unique perspectives that blur the lines between fashion, fine art, and pop culture.

Complementing this initiative, Gucci collaborates with Assouline to release ‘Gucci: The Art of Silk’, the first book to explore the rich history and craftsmanship of Gucci’s silk scarves. With exclusive access to the Gucci Archive, the book delves into the cultural significance of these iconic pieces, highlighting their role in shaping the House’s legacy.

TO WATCH: TOP 10 BERLINALE MUST SEES

Anna Klusmeier — Tue, 04 Feb 2025 18:00:48 +0000

The prestigious festival, that serves as a global stage for groundbreaking films, where visionary storytellers and talented filmmakers converge to showcase their craft.

Honey Bunch is a forthcoming Canadian thriller written and directed by Madeleine Sims-Fewer and Dusty Mancinelli. Starring Grace Glowicki, Ben Petrie, Jason Isaacs, Kate Dickie, and India Brown, the film is set to debut at the 75th Berlin International Film Festival as part of the Berlinale Special program. The story follows Diana, who awakens from a coma with fragmented memories. As a means to aid her recovery, she is taken by her husband to a remote experimental trauma center. She doesn’t know why she’s there, but as pieces of her past slowly fall into place, she begins to unravel chilling and sinister secrets about her marriage.

Ato Noturno (international title: Night Stage) is a 2025 Brazilian feature film directed by Marcio Reolon and Filipe Matzembacher. This erotic thriller follows the intertwined lives of an aspiring actor and a politician, both drawn to the thrill of public sexual encounters. Starring Gabriel Faryas and Cirillo Luna in the lead roles, the film will premiere at the Berlinale. Ato Noturno is a story about the risk, secrecy, and ambition surrounding Matias, an aspiring actor who just moved to Porto Alegre to pursue his career. When he secures a spot in an esteemed theater company, he soon finds himself tangled in a professional rivalry with a fellow actor and ensemble member named Fabio. Meanwhile, Matias is forced to conceal his sexuality in hopes of landing the role of a traditionally masculine, heterosexual lover. Amidst this pressure, Matias crosses paths with Rafael, a politician, and the two embark on a secret affair. Their mutual attraction extends beyond romance, as they share a risky desire for public sex. However, as their careers ascend, so does their recklessness.

Köln 75 tells a true story from the life of Vera Brandes, a Cologne-based music producer and concert promoter who achieved great success in the 1970s. Directed by Ido Fluk, who also wrote the screenplay, the film features cinematography by Jens Harant, a score composed by Stefan Rusconi, and editing by Anja Siemens and Hubert Walkowski. Mala Emde portrays 18-year-old Vera Brandes, who independently organized a concert for jazz pianist Keith Jarrett at the Cologne Opera on January 24, 1975—despite her parents’ disapproval and the risks involved. However, a series of logistical and technical issues nearly led to the event’s cancellation. Frustrated, Jarrett even threatened to pull out of the performance. But through sheer determination and persistence, Brandes managed to salvage what would become one of the most iconic solo concerts in music history—the legendary and highly acclaimed Cologne Concert.

Other People’s Money is a gripping series that delves into Europe’s largest tax fraud case, exposing how a network of wealthy investors, bankers, and lawyers orchestrated a €146 billion ($153 billion) scheme to siphon funds from European taxpayers. The show is helmed by creator and showrunner Jan Schomburg, and will have it’s premiere at the Berlinale. The cast features Lisa Wagner, Karen-Lise Mynster, Justus von Dohnányi, Niels Strunk, David Dencik, and Fabian Hinrichs. Inspired by the CumEx-Files investigation by European media outlets, the series unveils the complex global financial network that drained billions from state treasuries, impacting every European citizen. Across eight episodes, it follows both the masterminds behind the scheme and two women from different countries fighting to expose the truth—despite fierce opposition from governments and banks determined to shut them down.

Ich will alles is a documentary film by Luzia Schmid, based on the life and career of German actress and chanson singer Hildegard Knef. The film is set to have its world premiere as part of the Panorama section at the 75th Berlin International Film Festival. Hildegard Knef was a world-renowned actress, singer, and author whose career spanned over six decades. She achieved international acclaim, faced significant setbacks, and consistently reinvented herself, maintaining her dignity and humor throughout. The documentary portrays her as a resilient and ambitious woman, offering a cinematic autobiography that showcases her unwavering spirit and artistic brilliance through rare archival footage.

The Old Woman with the Knife (Korean: Pa-gwa) is an upcoming South Korean action thriller directed by Min Kyu-dong, adapted from Gu Byeong-mo’s novel of the same name. The film is slated for its world premiere in February 2025 at the 75th Berlin International Film Festival, featured in the Berlinale Special section. The main cast consists of Lee Hye-young, Kim Sung-cheol, Yeon Woo-jin, Kim Moo-yul, and Shin Si-ah. The narrative centers on Hornclaw, a legendary assassin in her 60s who specializes in eliminating society’s undesirables. Accustomed to loss, she finds renewed purpose upon meeting Bullfight, a promising young killer eager to collaborate with her.

Atardecer en América (English: Sunset over America) is an upcoming short documentary directed by Chilean filmmaker Matías Rojas Valencia. The film is set to have its world premiere at the 75th Berlin International Film Festival, featured in the Generation 14Plus section. The documentary takes place on the Altiplano plateau, recognized as one of the most perilous migration routes in Latin America. A teenage girl recollects the night she traversed this treacherous terrain, during which she felt accompanied by a spiritual presence that wandered like the wind. This documentary offers a poignant look into the challenges faced by migrants in Latin America, blending personal narrative with broader socio-political themes.

An upcoming experimental documentary by American filmmaker James Benning. Little boy will premiere in the Forum section at the 75th Berlin International Film Festival. James Benning is renowned for his minimalist and contemplative filmmaking style, often exploring themes related to American landscapes and history. As a companion piece to Benning’s earlier work, American Dreams (lost and found) (1984), this film reflects on the past to warn about the future, told from a young boy’s perspective.

An upcoming Australian drama miniseries by filmmaker Justin Kurzel, The Narrow Road to the Deep North will premiere as a Berlinale Special at the 75th Berlin International Film Festival. Kurzel is acclaimed for his intense and immersive storytelling, often delving into historical narratives and complex characters. These characters are portrayed by Jacob Elordi, Ciarán Hinds, Odessa Young, Olivia DeJonge, and Simon Baker. Adapted from Richard Flanagan’s Booker Prize-winning novel, this series explores the harrowing experiences of a World War II hero haunted by his time in a Japanese prisoner of war camp and a poignant pre-war love affair. The narrative reflects on the enduring impact of past traumas and the complexities of memory and survival.

An upcoming science fiction black comedy by South Korean filmmaker Bong Joon-ho, Mickey 17 will premiere in the Berlinale Special section at the 75th Berlin International Film Festival. Bong Joon-ho, renowned for his genre-blending narratives and incisive social commentary, has previously struck us with the Academy Award-winning Parasite. Now, he directs this adaptation of Edward Ashton’s 2022 novel Mickey7. The film stars Robert Pattinson as Mickey Barnes, an “expendable” clone worker on a human colony, who confronts existential dilemmas upon discovering a subsequent iteration of himself. This narrative delves into themes of identity, mortality, and the ethical complexities of cloning.