film – Numéro Berlin https://www.numeroberlin.de Thu, 23 Jul 2026 10:39:56 +0000 en-US hourly 1 W COSTA NAVARINO: A PLACE BETWEEN MYTH AND MODERNITY https://www.numeroberlin.de/2026/07/w-costa-navarino-a-place-between-myth-and-modernity/ Thu, 23 Jul 2026 10:39:56 +0000 https://www.numeroberlin.de/?p=72560
W COSTA NAVARINO: A PLACE BETWEEN MYTH AND MODERNITY

Numéro Berlin explored the luxury resort that became one of the filming locations for Christopher Nolan’s newly released film, The Odyssey.

Following Odysseus’ legendary ten-year journey home after the Trojan War, Nolan brought the epic tale back to its Mediterranean origins, filming amid the dramatic cliffs, caves and shores of the Peloponnese. Celebrating the film’s release with screenings at its open-air cinema, while also offering specially curated excursions, artisanal workshops and activities inspired by the enduring story of Odysseus, the landscape continues to invite a different kind of voyage: one defined by design, wellness, cultural curiosity and the art of slow luxury.

Let’s be honest: it is difficult not to fall deeply in love with Greece — whether for the beauty and diversity of its landscapes, the layers of history that merge with the present in a way found almost nowhere else, its spirit of philoxenia, which goes far beyond hospitality and expresses a genuine love for strangers, or its profound joy of living and instinct for celebrating life at any moment. And, last but certainly not least, its food.

As part of an exclusive series of artworks, Greek curator and visual artist Poka-Yio raises compelling questions about the symbolic identity of hotels and their ability to serve as bridges into another space, allowing us to experience the spirit of a country in a more intimate way. He sees hotels as timeless entities: “They are certainly out of place and out of time. They are portals.” Some have the rare privilege of being built on land that carries deep, collective memories of the past.

W COSTA NAVARINO: A PLACE BETWEEN MYTH AND MODERNITY

W Costa Navarino is undoubtedly one of those portals. Opened in 2022, it is nestled in one of Greece’s best-kept secrets: the region of Messinia in the southwestern Peloponnese, a landscape shaped by more than 4,500 years of history. It forms part of an expansive luxury destination comprising premium hotels, private residences and one of the Mediterranean’s most diverse offerings for exploration, sport and wellbeing.

Driven by a philosophy of protecting and preserving Messinia while thoughtfully contributing to its development, Costa Navarino places sustainability and its relationship with the local community at the centre of its vision. Messinia is home to one of Europe’s richest regions for biodiversity — the Gialova Lagoon alone provides a habitat for 271 bird species — while also preserving an extraordinary cultural legacy, from Mycenaean palaces and vaulted tombs to Classical temples, Byzantine churches and medieval castles.

The region is further enriched by several UNESCO World Heritage Sites, including Ancient Olympia, Mystras and the Temple of Apollo Epicurius. It is also home to Ancient Messene, the Palace of Nestor and Nestor’s Cave— believed to have served as one of the filming locations for the Cyclops Polyphemus sequence in Nolan’s The Odyssey — the iconic omega-shaped Voidokilia Beach.

A VILLAGE REIMAGINED

Costa Navarino is made up of three distinct destinations, each with its own character: Navarino Dunes, Navarino Bay and Navarino Hills.

Together, they comprise four luxury hotels. At Navarino Dunes are The Romanos, a luxury Collection Resort and The Westin Resort Costa Navarino, alongside private residences, two golf courses and a Mouratoglou Tennis Centre, the NBA Basketball School and a collection of villas available through Costa Navarino’s villa rentals programme. It is also home to the 4,000-square-metre Anazoe Spa, a renowned wellness and thalassotherapy centre.

Navarino Bay is home to Mandarin Oriental, Costa Navarino and W Costa Navarino, as well as Navarino Agora -a hub for gastronomy, culture and entertaintment open to all guests and residents of Messinia. While Navarino Hills features an additional two signature 18-hole golf courses.

My destination, however, is the vibrant W Costa Navarino.

After a three-and-a-half-hour drive from Athens Airport, the changing landscape gradually reveals what makes this corner of Greece so special. Rolling hills, olive groves and the sea create a quiet sense of anticipation long before reaching the hotel. “This is the Hamptons of Greece — just without the crowds,” someone tells me on the way.

The first thing that catches my eye upon arrival is the monumental W sculpture, rising almost four metres above the entrance. I later learn that it forms part of the hotel’s permanent art collection by Greek artist Poka-Yio, whose fascination with creating works for public spaces reflects one of the resort’s central ideas: bringing together culture, place and contemporary hospitality.

The sculpture is also a tribute to the Constantakopoulos family and their deep connection to the sea. Constructed from fragments of traditional wooden fishing boats, it preserves disappearing pieces of Greece’s maritime heritage, turning them into something entirely new.

“I turned to the old-fashioned fishing boats and trawlers that are quickly disappearing from Greece’s seas. We visited boatyards and marinas, collecting wood from abandoned boats and using it to fill the metal frame of the hotel’s sign. In a way, we connected the Constantakopoulos family’s history with the sea, creating a dialogue between memory, landscape and the present,” the artist explains.

Rather than functioning as decoration, the artworks throughout the hotel quietly anchor the property in the history of its surroundings. Alongside Poka-Yio’s own works, sculptures, photography and installations by emerging artists create a subtle conversation between antiquity and contemporary Greece.

One of my favourite discoveries appears in the reception area: clay tablets inscribed with Linear B. Their markings resemble prehistoric text messages or emojis, inviting guests to imagine one of Europe’s earliest written languages through a distinctly contemporary lens. Elsewhere, fragmented ceramic vessels evoke archaeological finds freshly lifted from beneath the sea.

THE W, REIMAGINED

 

For those familiar with the W brand, W Costa Navarino offers a noticeably different experience from its sister properties around the world. Overlooking the historic Bay of Navarino, the adults-only resort feels more rooted in its surroundings, balancing contemporary design with the slower rhythm of the Peloponnese.

Set along a peaceful 450-metre stretch of sandy coastline, the property features 226 rooms, including beachfront three-bedroom villas and two-bedroom suites with private rooftop pools. Throughout the season, a changing programme of events and collaborations connects guests with the surrounding landscape, offering everything from mountain biking, hiking and road cycling to rock climbing, windsurfing, waterskiing, kayaking and stand-up paddleboarding.

Wellbeing is woven just as naturally into the experience. Alongside fitness classes and yoga, the resort offers regenerative programmes inspired by Hippocratic philosophy and contemporary medical research, encouraging a more holistic approach to longevity, recovery and mental balance.

ARCHITECTURE IN CONVERSATION: LIVING WITH THE LANDSCAPE 

Designed as an ongoing dialogue between the raw beauty of Messinia and a contemporary vision of Mediterranean living, W Costa Navarino blends naturally into its surroundings rather than competing with them. Greek architectural studioAlexandros N. Tombazis & Associates reinterpret the spirit of the Peloponnese through natural materials, organic forms and a seamless transition between interior and exterior spaces, while MKV Design brings warmth, texture and a distinctly contemporary sensibility to the interiors.

Stone, water, vegetation and natural light constantly interact, allowing the architecture to almost disappear into the landscape. From certain viewpoints around the main pool, the horizon, the sea and the hotel seem to merge into a single uninterrupted panorama.

My favourite part of the property, however, was the Fabulous Infinity Swim-Up Guest Room. With direct access to the shared pool from each private terrace, the rooms quietly blur the boundary between private retreat and communal living — another subtle expression of how W Costa Navarino encourages guests to experience the resort not in isolation, but as part of a shared landscape.

COMMUNITY IS THE HEARTBEAT

Breakfast at W Costa Navarino unfolds like a walk through a contemporary Greek village square. Inspired by the traditional platia — the heart of every Messinian village, where people meet, talk and spend time together — the space transforms the morning ritual into something far more relaxed than a conventional hotel buffet.

Instead of one large dining hall, breakfast is spread across a series of individual “houses”: a bakery filled with freshly baked bread and pastries, a coffee shop, a deli celebrating local produce, and live cooking stations where dishes are prepared to order. Surrounded by pergolas, natural materials and Mediterranean planting, Platia captures something that Greece has always understood particularly well: that food is as much about gathering as it is about eating.

Just a few steps away lies Navarino Agora, a contemporary marketplace built around the same idea. Conceived as a meeting place for both visitors and locals, it brings together independent boutiques, restaurants, street-food concepts, an open-air cinema, immersive entertainment and a richprogramme of music, dance and cultural events. It feels less like an extension of the resort than a small neighbourhood that has grown naturally around it.

The Agora is also home to several of the resort’s 46 restaurants. One of the standouts located in the W is Parelia —stemming from the Greek words Parea, Elia and Paralia, which mean Friends, Olive and Beach— where Executive Chef Nikos Billis reinterprets the flavours of Messinia through a contemporary lens. Rooted in locality and seasonality, the menu remains unmistakably Greek while allowing familiar dishes to evolve and inspire.

BEYOND SUSTAINABILITY

No story about this part of Greece would be complete without its olive trees. Kalamata has become synonymous with some of the world’s finest olives, and throughout Costa Navarino the centuries-old groves are treated not as landscape decoration but as part of the region’s cultural identity.

That philosophy extends well beyond symbolism. During construction, nearly 7,000 olive trees were carefully transplanted and protected before being replanted across the estate —the largest olive tree relocation programmes ever undertaken in Europe. Since then, more than 9,900 native trees and over 1.2 million endemic shrubs have been introduced across the destination.

The environmental initiatives continue in less visible ways, from significantly reducing single-use plastics and investing in responsible water management to sourcing electricity from renewable energy and designing buildings that work with the landscape rather than against it. Sustainability here feels less like a marketing statement than a long-term commitment to preserving the character of Messinia while supporting the local economy.

There is even an unexpected final chapter to that story. Through the Navarino Pet Community, volunteers have already helped find homes for more than 270 stray dogs and cats. Together with the Captain Vassilis & Carmen Constantakopoulos Foundation and local organisations, the initiative “Messinia Without Strays” reflects another, quieter expression of hospitality — one that extends beyond guests to the place itself.

Since 2025, Costa Navarino has also been supported by a long-term biodiversity monitoring programme. Conducted by a team of 13 researchers from Nature Conservation Consultants, the ongoing survey documents the region’s wildlife and plant life, contributing valuable data while helping protect one of Greece’s richest natural landscapes.

What makes all of this even more meaningful is understanding how Costa Navarino came to exist in the first place.

The destination was born from the vision of Captain Vassilis C. Constantakopoulos, one of Greece’s most respected shipping entrepreneurs, who imagined a place that would celebrate rather than reinvent his native Messinia. More than creating another luxury destination, his ambition was to build a model in which hospitality, local heritage and the landscape could exist in balance — allowing the region’s cultural identity to remain intact while creating new opportunities for future generations.

DESIGNED FOR PLAY

Costa Navarino has become one of Europe’s leading golf destinations, with four signature courses spread across the estate. Among them are The Dunes Course, designed by former Masters champion and Ryder Cup captain Bernhard Langer in collaboration with European Golf Design, and The Bay Course by Robert Trent Jones Jr., whose route follows rolling hills, olive groves and uninterrupted views across the Ionian Sea. Both combine world-class sporting facilities with a landscape that remains unmistakably Greek.

Equally impressive is the Mouratoglou Tennis Center at Navarino Dunes, one of Europe’s leading tennis training facilities. Founded by Patrick Mouratoglou, the 

academy combines elite coaching with a global network that includes the French Riviera, Italy, Malaysia and the United States. The Costa Navarino centre features twelve tennis courts, three padel courts and two pickleball courts, with a second Mouratoglou Tennis Center scheduled to open at Navarino Bay next spring.

The destination is also home to the NBA Basketball School, the first collaboration between the NBA and a privately operated hospitality and sports destination in Europe — another example of Costa Navarino’s ambition to position itself as more than a traditional resort.

Yet perhaps the most memorable journey begins just beyond the resort itself.

FOLLOWING ODYSSEUS

Only a short drive away lies the Palace of Nestor, one of the best-preserved Mycenaean palaces in Greece and one of the places where Homer’s Odyssey still feels remarkably present. Nearby, the fortress of Niokastro in Pylos and the Archaeological Museum of Pylos trace the many civilizations that have shaped this coastline, from the Mycenaean world to Venetian and Ottoman rule.

It is here that the story comes full circle.

Long before Christopher Nolan returned to Messinia to film The Odyssey, these landscapes had already carried the memory of one of the world’s greatest journeys. Today they continue to do so — not as a backdrop for mythology, but as a place where history, culture and contemporary Greece quietly exist side by side.

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TO WATCH “THE ODYSSEY“ BY CHRISTOPHER NOLAN https://www.numeroberlin.de/2026/07/to-watch-the-odyssey-by-christopher-nolan/ Wed, 22 Jul 2026 08:00:00 +0000 https://www.numeroberlin.de/?p=72436 “THE ODYSSEY“ BY CHRISTOPHER NOLAN

Like many of Christopher Nolan’s films, The Odyssey has been one of the most anticipated films of the year, not only because of its ensemble cast, which includes Matt Damon, Anne Hathaway, Tom Holland, Robert Pattinson, Zendaya, and Charlize Theron, but also because of the director’s technical ambition. Shot entirely on IMAX film cameras, The Odyssey is worth the buzz, considering that IMAX built special equipment, including a so-called blimp for Nolan, to silence the notoriously loud IMAX cameras so that dialogue could be recorded on set, eliminating the need for ADR (Automated Dialogue Replacement). The whole thing is a soundproof box so big that the crew had to use mirrors to keep the eyelines consistent during filming, as they couldn’t see each other when standing close. Through this mirror trick, they could maintain eye contact through each other’s reflections. With its mechanism, the tricks required to film with it, and its impact on contemporary filmmaking, its significance already feels monumental. I can already see that giant rig standing in the Academy Museum in Los Angeles as part of its permanent exhibition.

Homer’s Odyssey is from a time of apparent magic, a homecoming journey full of obstacles and many side stories, a ballad of roughly 12,000 verses that follows the events of the Iliad, another epic attributed to Homer. Its lost and troubled hero, Odysseus (Matt Damon), longing for his home and beloved wife Penelope (Anne Hathaway), is nothing less than perfect for a Nolan film.

There are many moments throughout this almost three-hour film where it feels as though Nolan is referring to his own films, including Memento (2000), or perhaps he has been referring to Homer’s Odyssey throughout his filmmaking career. Told through flashbacks, The Odyssey by Nolan centers around the Trojan War, the guilt Odysseus carries, the sacrifices made for victory, and the silent power and perseverance of its female figures. All of these elements are layered gently in his screenplay and shot in an astonishing fashion by Hoyte van Hoytema. The film’s impact lingers for at least a few days, and you can still mentally dive deep and explore its rich texture, not only how beautiful it looks, but also its film score by Ludwig Göransson and incredibly powerful figures like the goddess Athene, played silently yet with such intensity by Zendaya, or Odysseus’ loyal friend Eumaeus, brought to life in a heartfelt performance by John Leguizamo.

There is little point in recounting the plot of a nearly three-thousand-year-old Homeric epic, but what makes Nolan’s adaptation remarkable is how relevant it remains in today’s landscape of war and its enduring impact across generations. Contrary to what might be apparent at first glance, Nolan’s The Odyssey also has a feminist side to it. The women are not merely companions to Odysseus’ journey, but key figures within it: Athene, Calypso and, of course, Penelope, whose strength and resilience become just as important as the hero’s own voyage.

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TO WATCH „NINJA MOTHERF*CKING DESTRUCTION“ BY LOTTA SCHWERK https://www.numeroberlin.de/2026/07/to-watch-ninja-motherfcking-destruction-by-lotta-schwerk/ Wed, 15 Jul 2026 09:40:13 +0000 https://www.numeroberlin.de/?p=72334 A QUEER COMING-OF-AGE STORY: FINALLY WITHOUT SEXUALIZATION

It couldn’t get much more lesbian than this: “Ninja Motherf*cking Destruction“ tells a queer love story filmed over the course of eight (!) years.

Leonie and Marlene share an inseparable friendship – until Leonie falls in love with Naomi, diving headfirst into her first relationship. But Naomi comes with her own struggles: depressive episodes that increasingly take a toll on their relationship, and especially on Leonie as her primary source of support. Caught up in trying to care for Naomi, Leonie gradually neglects her other relationships, hurts her former best friend Marlene and ultimately loses herself in the process.

When the relationship finally comes to an end, Leonie realizes just how isolated she has become. She leaves Berlin to get her life back on track and starts a gardening apprenticeship. Amidst this new beginning, she comes to realize that something is still missing: her best friend.

The film convinces through its raw authenticity: minimal make-up, handheld camerawork and the complexity of adolescent relationships captured so well that it hurts. 

Raising relevant questions of queer identity, director Lotta Schwerk was longing for a display of queer women without drifting into lesbian sexualization, nor ruthlessly romanticizing mentally ill women. With a predominantly FLINTA team and cast, she gives voice to young women falling in love and navigating all the complexities that come with it – not through unnecessary sexualization, but with remarkable honesty and vulnerability.

Perhaps most impressively, Schwerk was the same age as her protagonists while writing each year’s script, carefully taking the story one year at a time. Made without film school or public funding, “Ninja Motherf*cking Destruction“ has become a wild, unfiltered portrait of the bittersweet experience of growing up.

 

“Ninja Motherf*cking Destruction“ will be released in German cinemas on 16 July.

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TO WATCH “FJORD“ BY CRISTIAN MUNGIU https://www.numeroberlin.de/2026/07/to-watch-fjord-by-cristian-mungiu/ Wed, 08 Jul 2026 09:00:00 +0000 https://www.numeroberlin.de/?p=72083 FJORD: ON THE SURFACE OF MORAL UNCERTAINTY

Palme d’Or laureate Cristian Mungiu’s return to Cannes with Fjord (2026), starring Sebastian Stan and Renate Reinsve, has made his mark in film history. By taking home the festival’s highest honor once again, the Romanian auteur becomes one of ten directors to have won the prestigious Palme d’Or a second time.

In Fjord, Mihai, a Romanian software engineer played by Stan, moves with his Norwegian wife Lisbet, portrayed by Reinsve, and their children to the remote Norwegian village where Lisbet grew up. Drawn by both Mihai’s new IT job and the area’s strong Christian community, the deeply conservative family initially receives a warm welcome from their neighbors and the local school staff. The situation changes dramatically after teachers notice bruises and marks on their eldest daughter (Ella (Vanessa Ceban). Following questioning by Norwegian child protection and police, the children are placed into provisional care while the parents face accusations due to their strict disciplinary methods. As the investigation unfolds, tensions grow between the family and the surrounding institutions, exposing cultural differences, language barriers, and the bias against them as Romanian migrants.

The ambiguity is clearly part of the film’s intention, but it does not always fully carry through, with key narrative threads left hanging or only partially developed, such as the children’s boat trip the day before the bruises are discovered.

The emotional fallout feels equally thin. After being separated from their parents, the teenagers appear completely unshaken, showing almost no confusion or psychological distress. Hiding Renate Reinsve behind those black-framed glasses comes at a similar cost. She’s an actor who usually communicates a great deal through micro-expressions, and in Fjord this is largely muted. Mungiu’s Fjord ultimately offers merely the outline of something more layered. It remains conceptually ambitious, but the tension between the conservative family dynamic and the surrounding institutional judgment never quite develops.

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TO WATCH “INTO THE WILD“ BY SEAN PENN https://www.numeroberlin.de/2026/07/to-watch-into-the-wild-by-sean-penn/ Wed, 01 Jul 2026 13:37:23 +0000 https://www.numeroberlin.de/?p=71995
A LIFE DEDICATED TO ADVENTURE

Christopher McCandless became a worldwide legend for his insatiable hunger for the wild, nature, and life itself.

The academically high achiever graduated from university in 1990, looking toward a bright career, as he also came from a wealthy family. But he had no interest in any of that. Cutting up his cards and donating his college savings of $24,000 to Oxfam, Chris began a journey that would become a lifelong quest. Not least as an escape from an abusive household, he traveled from South Dakota to California, first by car (without insurance and with expired license plates), then by hitchhiking, canoeing down the Colorado River, and walking with minimal equipment before reaching his final destination: Alaska.

During his travels, he got arrested, beaten up, and challenged by nature’s obstacles. More importantly, however, he met people along the way—remarkable personalities who each left him with different lessons.

After a two-year journey, Christopher was found in 1992 in his “Magic Bus,” an abandoned bus in the Alaskan wilderness where he had been seeking shelter. One of the last images found on his camera, before he presumably died of starvation, shows him holding a note that reads: “I HAVE HAD A HAPPY LIFE AND THANK THE LORD. GOODBYE AND MAY GOD BLESS ALL.”

When Sean Penn first read Jon Krakauer’s biography Into the Wild, published in 1996, he was immediately captivated by this extraordinary story. What followed was a ten-year process of securing the film rights, which Chris’s family initially denied him. Thanks to Penn’s unwavering dedication, they finally agreed, and production began. Featuring a high-calibre cast, including Marcia Gay Harden and Kristen Stewart, Emile Hirsch is the undisputed star of the film. He embodies Chris’s courage, dedication, and passion brilliantly. Accompanied by a moving soundtrack by Pearl Jam lead singer Eddie Vedder, the film becomes a stunning portrait of a man who died in pursuit of adventure—leaving behind all material possessions to discover the true meaning of life and to understand both nature and his place within it.

First released in 2007, Into the Wild is now returning to the big screen from 7 July 2026 in German cinemas. 

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IN CONVERSATION WITH EIVIND LANDSVIK https://www.numeroberlin.de/2026/06/in-conversation-with-eivind-landsvik/ Mon, 29 Jun 2026 09:00:00 +0000 https://www.numeroberlin.de/?p=71914
“I THINK EVERYONE HAS ART IN THEM, BUT SOME OF US CAN’T LEAVE IT ALONE.“

What do you do when the one thing you’ve sacrificed everything for stops working? That’s the question driving Norwegian director Eivind Landsvik’s Low Expectations (2026). The film follows Maja, a musician now facing life outside the industry after a mid-tour collapse. Landsvik wrote this story while facing down his own creative blocks. Below, our conversation about his intuitive writing process, the generational divide of the high school classroom, and why he tries to keep his expectations on the floor.

Burcu Beaufort

Creative blocks, ambition, fame, and artistic identity

Burcu Beaufort: In the movie, you talk about creative blocks and being an artist. Do you think people are born artists or do they become artists?

Eivind Landsvik:

I think everyone has art in them, but some of us can’t leave it alone. I’ve thought about quitting so many times, but, you know, it hasn’t been an active choice to continue.
It’s just something I do.

BB: How do you cope with your ups and downs in terms of creative block?

EL:

I don’t know. When I started writing this film, I think I was confronting my fear of never being able to make this film. What happens if I have to give up and find a regular job, what would that be? What should I do? That’s what Maja is dealing with in the film. She is put in a situation where she is forced to figure out if there is a life outside of music that is worth living.
In most cases that might seem obvious, but when you’re reaching your thirties, you have sacrificed everything to do this one thing, and… All of a sudden, your identity is more based on what you do or what you’re trying to be and not who you are, and I think that can be very dangerous.

BB: Do you think expectations come into play while you’re searching for ideas?

EL:

I try to have low expectations from the get go, but I always have high ambitions for what I’m trying to achieve through my films. I like having those dreams, but then
keeping them grounded. To me, if you don’t have ambitions, this job (as director) will be very difficult. At the same time, I try not to expect anything because I can’t really expect you to like the film. That would be crazy
to me. But, when you do, of course I’m happy. So I’m trying to separate the ambitions and the expectations.

BB: Do you think fame comes into play at a certain point?

EL:

I don’t think everyone creating art is comfortable with being famous. I’m not famous, but seeing my photo this week in the Norwegian newspapers made me somewhat
uncomfortable. I like the idea of fame. I just don’t want to be faced with it.

The film, characters, and social layer

BB: Was it shot on film?

EL: Yes, it’s shot on 16mm. Some parts are shot on 8 mm, like when Maja is touring in the beginning.

BB: Why did you choose to tell this personal story through a mother-daughter dynamic?

EL:

I have a very close relationship with my own mother. As far as the Maja
character, she just appeared somehow. So there wasn’t much thought given to the choice of gender. The way I work is, I just start to write, and the characters kind of show up. I don’t like having a pitch and then starting something.

BB: In your story you also touch upon topics like immigration and certain behaviours within society, which is a hilarious scene by the way. How do you see that topic in general?

EL:

In a lot of European countries, we feel that people coming here owe us
gratitude, and I don’t agree with that. We are not even aware that we are acting in such a way.
To me, we should feel way more gratitude for having avoided living in countries of war.

Burcu Beaufort
BB: Your lead character could have been doing anything after a collapse, but you threw her into a high school where she is dealing with all those teenagers. What makes it so interesting to confront Maja with those soon-to-be-adults?

EL:

I think because there was something so vulnerable about being thrown into
this. She’s maybe a bit too young for the other teachers in that school, but she’s also too old for the teenagers. They have everything she’s had still in front of them. It can be heartbreaking for
Maja to recognise that teenage time is when you make the decisions, and she has made her decision by choosing to become a musician, which ruined a lot of relationships in her life, like the one to her mother.

Beginnings, writing process, and directing

BB: How long did you work on this movie? How was the writing process?

EL:

I started writing it in 2020, but I didn’t write so much that year and I put it away.
I started again, finalized the first draft in the fall of 2021 and sent it to my producers in January with low expectations. We started working in 2022 and shot the film at this time last year. Our
first shooting day was the 14th of May 2025. I think in February this year the sound mix was completed.

BB: And do you think writing the movie and directing it goes hand in hand or you can also direct the script?

EL:

A lot of people ask me if I could direct anyone else’s screenplay. I think I could, but I didn’t get into film school, so no one would give me a script. I just had to write my own films to have something to direct. That’s how I started making short films. Before that I also
did some music videos, which I had produced myself.

 

The corresponding conversation with starring actors Marie Ulven and Anders Danielsen Lie can be found here. 

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IN CONVERSATION WITH ANDERS DANIELSEN LIE AND MARIE ULVEN AKA GIRL IN RED https://www.numeroberlin.de/2026/06/in-conversation-with-anders-danielsen-lie-and-marie-ulven-aka-girl-in-red/ Thu, 25 Jun 2026 13:00:00 +0000 https://www.numeroberlin.de/?p=71893
In Conversation with Anders Danielsen Lie and Marie Ulven aka Girl in Red about “Low Expectations“

Premiering in the Quinzaine des Cinéastes section at the 2026 Cannes Film Festival, Low Expectations by Norwegian director Eivind Landsvik is a tender, quietly uplifting portrait of a young musician, Maja (Marie Ulven), whose life collapses at the height of her stardom.

The film features indie-pop artist Marie Ulven (internationally known as Girl in Red) alongside acclaimed actor and fellow musician Anders Danielsen Lie as Johannes, a high school teacher.

We follow Maja as she retreats from the pressure of her former success as a musician and slowly begins to rebuild herself in the quiet of her hometown, away from the stage and the expectations that once defined her.

Burcu Beaufort: How do you feel about the title Low Expectations? Is it a form of self-protection, both in the film and personally?

Marie Ulven:

My grandfather said to me before Cannes, “I want you to expect the worst, Marie, so that you might be pleasantly surprised.

” I think going through life with low expectations is kindof important because otherwise you risk being constantly disappointed.

But at the same time, I don’t think disappointment is necessarily bad. I think it’s also brave to have high expectations and allow yourself to be disappointed and sad. You have to stay true to what genuinely excites you and what gives you expectations in the first place.

Anders Danielsen Lie:

I totally agree. There’s a dynamic between low expectations and high expectations. If you don’t have any expectations at all, then nothing really happens in your life.

You need some expectations about what you want to achieve, happiness, meaning, all of that.

But if your expectations become too high, you end up disappointed and you might run into some kind of crisis. Though that can also be a good thing because then you return to zero and build everything up again. That’s a bit how life works. It moves in circles, and there’s nothing pathological about having a crisis.

Burcu Beaufort
Burcu Beaufort
BB: And how does that work when making art? You’re both artists. Anders, besides having a degree in medicine, you’re acting and making music. You recently played the legendary jazz pianist Bill Evans in Grant Gee’s Everybody Digs Bill Evans (2026). Marie, you’re an internationally celebrated musician. Do you have expectations when you create, or is it more about making something for yourself and simply putting it out into the world?

MU:

The moments where I had the highest expectations of myself were actually the moments where I felt least connected to myself creatively. Especially around my second album, I had enormous expectations because the first one had been so successful. Suddenly I felt pressure to exceed expectations, which didn’t really come from me anymore, but from the outside world. If you start making artistic decisions based on what other people might think, then I don’t even know how much the work still belongs to you. You’re making decisions based on fear rather than instinct.

But there’s another kind of expectation that comes from excitement. When you get a new idea and feel, “Wow, this could become something.” That’s different. That’s hopeful and feels pure.

ADL:

Exactly. It’s like writing a riff on the guitar and immediately thinking, “This could become the best song I’ve ever written.”

But then comes the fear of ruining it along the way. I think that tension is necessary for creativity. Most artists probably feel grandiose one minute and completely terrible the next, sometimes within the same day. But that’s part of the process.

It’s what drives you forward.

BB: Do you think creative ideas arrive more easily when you don’t have expectations?

MU: Exactly. I don’t think you can walk around expecting ideas to come. They appear at the most random moments.

ADL: But once the idea is there, then it becomes about finding the sweet spot. You can’t drift through life with low expectations and expect everything to come to you. You need ambition. Sometimes you even need astronomically high expectations. Then you fail, crash, and start building again. That’s the circle of creativity and of any artistic endeavor. I have to admit that I’ve always had big ambitions for my life. In some way, that also comes from self-respect. I have this one life, and I want to make the most of it.

At the same time, trying to be happy is also important. I think there’s a strong correlation between expectations becoming too high and feeling unhappy.

BB: Marie, this is your acting debut. The director, Eivind Landsvik, said you had such a strong presence during the audition process. Did you feel personally drawn to Maja, or was it more of an experiment for you?

MU:

I think everyone can recognize parts of themselves in almost any character. We all contain little pieces of everything.

Maja and I definitely share similarities, but we’re also very different. She’s much more introverted than I am. I’ve had periods of depression, but I’ve never isolated myself from people in the same way she does. She pushes her mother away, whereas if I’m struggling, I immediately call my mom.

As I read the script, I felt like I understood Maja’s inner world. I had never even read a script before, so at first I honestly didn’t know how to audition. We had to do several takes because I really wasn’t happy with the first ones. Gradually, I started understanding the tone and emotional temperature of the character.

ADL:

Film acting is a lot about intuition, instincts, musicality, and timing. So I don’t think it’s a coincidence that a musician would naturally have a head start. It’s about understanding the wavelength of a conversation, the atmosphere of a room. That’s musical to me.

Film is such a naturalistic medium. You need to see real people, people with spontaneity. If you’re too experienced, you can develop all these actorly gestures and mannerisms that may feel less natural. If you haven’t done it before, you are often closer to real life. That’s why Marie works so well on screen. The presence on stage isn’t so different from presence in film. On stage, you capture the audience; while in film you capture the camera.

How do you experience the difference between performing music and acting?

MU:

For me, they’re deeply connected. I’ve played hundreds of shows, and I’m very sensitive to the temperature of a crowd. If I feel the energy changing, I react to it immediately. Maybe I change the setlist or start speaking to the audience. It’s the same in conversations while just hanging out with friends. I feel rhythm everywhere.

ADL: So you have a vibe radar?

MU:

I have a vibe radar and a gaydar. (Laughs)

ADL:

Human beings are incredibly sensitive to rhythm. If there’s a disruption in the rhythm of a dialogue, it feels jarring immediately. And sometimes that sensitivity even transcends culture and language.

BB: That’s interesting because watching this Norwegian film felt very different to me culturally. In the film, there’s so much emotional space being given. At one point, I wanted to scream, “Just hug her. ” I kept wondering: when does giving someone space become letting them drown?

MU:

Maja isn’t open to love at that point. Even for her mother, it’s difficult to simply grab her almost thirty-year-old daughter and hug her. Maja is emotionally drowning, and she’s trying to communicate that to her mother, but she can’t fully say, “I need help.” That feels very similar to many people I know who struggle with asking for help.

BB: I was amazed by how little judgment there is toward Maja in the film. People just listen to her instead of telling her what to do. That is something rare in many cultures.

ADL:

Norwegians tend to think of themselves as emotionally repressed, or at least less expressive than many other cultures. To me, a lot of that comes down to language and culture.

It doesn’t necessarily reflect the actual emotional intensity people feel internally.

But it’s a fascinating observation. I remember the time when we first screened Joachim Trier’s first film, Reprise (2006) at the Karlovy Vary International Film Festival in the Czech Republic.

We were so afraid that nobody would understand it. We felt it was this tiny little Norwegian film filled with Norwegian references, but somehow it worked. It’s kind of magical to me how all of that transcends language and culture.

 

 

The corresponding interview with director Eivind Landsvik can be found here.

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