If there is indeed a crisis in the German production landscape, Netflix didn’t get the memo. After a brilliant 2023 for local product, the platform is doubling down in 2024. And feted its upcoming product with an entertaining presentation entitled „Next on Netflix“, which was well worth attending.
FAST FACTS:
• Netflix banks on product from Germany with undiminished passion
• Crisp and professional presentation: everything you need in 90 minutes
• Audience highlight: the Kaulitz brothers take the stage
• Upcoming film productions: „Spieleabend“, „Exterritorial“, „Cassandra“, „Delicious“, „Brick“
• Upcoming new series: „Crooks“, „Mindful Murder“
• Returning: „Kleo“, „The Empress“, „How to Sell Drugs Online („Fast“)
• Strong focus on reality formats; more docutainment and true crime
The timing couldn’t have been better for Netflix’s 2024 content show, to which the platform invited guests to the Kosmos in Berlin, a perfect event location for an entertaining evening. There were so many successes from the past twelve months with German productions, from Oscar awards to new records, that it was impossible for Katja Hofem, Netflix Vice President Content DACH, to mention everything in her welcome address, so she only briefly touched on the highlights of the past twelve months: four Oscars for „All Quiet on the Western Front“, International Emmy for „The Empress“, Grimme Awards and German Television Awards for titles such as „Kleo“ and „King of Stonks“. Or „Dear Child“, the most successful German series on Netflix to date. One could easily have referred to the sensational figures for „Blood & Gold“ and „Paradise“, the furious start of the year with the action film „60 Minutes“ or the current success of „The Signal“: every shot a direct hit, if you like. There just was not enough time.
But the focus of the 90-minute event, which was mc’d by Jenny Augusta in a quick-witted and charming manner, was to be on the upcoming productions. While some of the competition has noticeably scaled back its involvement in the local production market or, in the case of Paramount+ and Sky, dropped it completely, Netflix is taking the opposite approach: it’s doubling down. So much so that not even all of the current projects could be presented exclusively on the Kosmos stage. For example, only a short clip of the thriller „Delicious“, the directorial debut of Nele Mueller-Stoffen with Fahri Yardim and Valerie Pachner in the leading roles, which was filmed in the south of France last fall, was shown in the opening trailer of the evening.
The other projects were given ample space though in a show that deserved this moniker: crisp, dynamic, no hitches and overlong interviews. Obviously Netflix had made an effort and taken the one or other critical feedback (and their own self-criticism) to heart. In any case, the production was top-notch. The titles in the program were presented with numerous invited stars in a well-balanced mix – but only after Katja Hofem’s welcome address, who said: „It is always something very special to present our series and film highlights and to experience the first reactions of our audience live. We see again and again how local stories can captivate viewers here in Germany and around the world. Together with our partners, we want to continue on our successful path – with the common goal of creating unique entertainment that moves and inspires people.“ She then handed over to Sasha Bühler, Director International Films, Eva van Leeuwen, Head of Series DACH, and Wiebke Schodder, Director Non-Fiction DACH, who introduced the program points relating to their respective work.
What stuck in mind? First of all, of course, the appearance of the Kaulitz brothers Tom and Bill pretty much in the middle of the show, who managed to fly in from Los Angeles despite various strikes and showed how professionals deal with stress, tiredness and jet lag: They ignore them. And spread a good mood. Mission accomplished. The posting of Tom Kaulitz’s first Insta post, cheered on by his much more exalted brother, was first-class entertainment and perfect fodder for social networks and local news. Their reality show – an area that is currently being heavily expanded at Netflix Germany – „Kaulitz & Kaulitz“, produced by Constantin Entertainment? Sold. Edin Hasanovic and Taneshia Abt were just as upbeat, beating the drum for the comedy „Spieleabend“ by Marco Petry and offering brief, classic screwball entertainment with wit and repartee. Sold.
Matthias Schweighöfer and Ruby O. Fee only made a short appearance by video clip for their new film „Brick“, directed by Philip Koch, because they are currently in the middle of shooting the mystery thriller in Prague. Interesting. Lavinia Wilson and Mina Tander gave insights into the Rat Pack production „Cassandra“ by Benjamin Gutsche, which will offer suspense and a bit of horror somewhere in between „M3GAN“ and „Das Haus“. Interesting. After „Barbarians“, Jeanne Goursaud is back in a very physical role in the action thriller „Exterritorial“ by Christian Zübert. Looks good. Dimitrij Schaad chatted about the second season of „Kleo“. Works. And showrunner Katharina Eyssen, together with her stars Philip Froissant and Melika Foroutan, whetted the audience’s appetite for the second season of her series „The Empress“. Works as well. The first scenes from the series „Achtsam morden“ by director Martina Plura and devised by Boris Kunz, a pitch-black comedy with Tom Schilling as a killer by chance who finds joy in his occupation, looked very good. And then, besides strong footage from the gangster series „Crooks“ by Marvin Kren, which will go on air at the beginning of April, there was another exclusive announcement: After the third season was supposed to be the end, „How to Sell Drugs Online (Fast)“ will continue after all; season 4 will start after Moritz has served his prison sentence. Yes, please. Plus more reality formats, personality shows (popular singer Shirin David was on stage) and lots of docutainment and true crime.
The fact that Netflix works to a high standard with its local productions, in close collaboration with leading production companies and top talent, is nothing new. However, while the content show in Berlin a year ago could still be summed up by the term professionalization – the series and films were geared towards an international format – and therefore the product suffered from a certain uniformity (only „Blood & Gold“ really stood out with its solid cinema look), the impression now is that the material is more broadly based and there is greater diversity in terms of look and feel, tonality and general thrust of the individual productions. Above all, however, I marked down in my notebook: Netflix may have become more selective, but the belief in local product from Germany remains unbroken. And what would be excellent news for the industry if not exactly that?
Thomas Schultze