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RITUS – Premiering at Filmfest München
RITUS – Premiering at Filmfest München

RITUS – Premiering at Filmfest München

Excited to share that Ritus, the new six-part mystery thriller series for ARD, is set to have its world premiere at Filmfest München on June 28 — and I had the pleasure of composing the score. Produced by MadeFor Film for ARD Degeto and Hessischer Rundfunk, the series stars Moritz Bleibtreu, Maximilian Mundt, Seyneb Saleh, and Anna Shirin Habedank in a dark, atmospheric story about identity, ancient secrets, and the power of the past. Can't wait for you to hear it.
SCHLECHTE MENSCHEN at the ISFMF 2026
SCHLECHTE MENSCHEN at the ISFMF 2026

SCHLECHTE MENSCHEN at the ISFMF 2026

For the third year in a row, I'm thrilled to share that I've received a nomination at the International Sound and Film Music Festival – this time for my score to the German series SCHLECHTE MENSCHEN, in the category Best Original Score, Series or Limited Series. When I first saw the nominee list, I had to take a moment. Sharing a category with composers like Cristobal Tapia de Veer, whose work on The White Lotus has been nothing short of extraordinary, or Antonio Sanchez, whose score for The Studio has been turning heads across the industry – that's not something I take for granted. These are artists I deeply admire, and being mentioned alongside them is both humbling and genuinely exciting. SCHLECHTE MENSCHEN has been one of those projects that stays with you. The tone, the characters, the world the directors built – it gave me so much creative space…
Nominated for Best Original Score at die Seriale 2026
Nominated for Best Original Score at die Seriale 2026

Nominated for Best Original Score at die Seriale 2026

The series BAD PEOPLE, for which I composed the original score, has been nominated for Best Original Score at die Seriale — the International Series Festival Giessen. The festival, one of Germany’s longest-running dedicated to short-form digital series, will take place in June 2026. Being nominated alongside composers from across the international festival circuit is a meaningful recognition, and I’m grateful it found its audience beyond the production itself. Working on BAD PEOPLE was a precise and enjoyable creative challenge — the series has a very specific tone, and finding music that supports that without overplaying it was the goal from the start. I’m looking forward to the festival and to seeing the series celebrated in this context.
Best Pitch at the Junior Entertainment Talent Slate
Best Pitch at the Junior Entertainment Talent Slate

Best Pitch at the Junior Entertainment Talent Slate

This year I was selected as one of the composers at the Junior Entertainment Talent Slate (JETS), and it was an inspiring experience. I met great people, had honest, energizing conversations, and discovered a wide range of exciting projects across very different genres and storytelling approaches. When it was my turn to pitch, I was honestly very nervous — my voice was shaking more than I’d have liked — but I’m incredibly grateful (and still a little overwhelmed) to have received the Best Pitch Award. Thank you for this amazing time and for bringing us all together.
Grimme Award Nomination for Schlechte Menschen
Grimme Award Nomination for Schlechte Menschen

Grimme Award Nomination for Schlechte Menschen

The series Schlechte Menschen, for which I composed the original score, has been nominated for the Grimme Award. The nomination highlights the show’s distinctive tone and storytelling approach. I’m thankful to have contributed musically to a project that resonates culturally and socially, and to have worked with a team that valued nuance, restraint, and character-driven storytelling.
Deutscher Filmmusikpreis 2025
Deutscher Filmmusikpreis 2025

Deutscher Filmmusikpreis 2025

I was honored to receive the Deutscher Filmmusikpreis 2025 in the Young Talent category. The award is a meaningful recognition of the work of recent years and of the many collaborations that shaped these projects. I’m deeply grateful to the directors, producers, musicians, and teams who trusted me with their stories and allowed music to become part of their narrative voice.
Scoring Begins for the Series Seelendorf (AT)
Scoring Begins for the Series Seelendorf (AT)

Scoring Begins for the Series Seelendorf (AT)

Work has begun on the original score for the series Seelendorf. Long-form storytelling offers a unique musical opportunity: themes can grow, transform, and deepen alongside the characters over time. The focus lies on atmosphere, subtle development, and emotional continuity rather than immediate musical statements. I’m looking forward to shaping the sonic identity of this world and accompanying the narrative across multiple episodes as it unfolds. More infos soon..
Max Ophüls Preis: Three Screenings
Max Ophüls Preis: Three Screenings

Max Ophüls Preis: Three Screenings

At this year’s Max Ophüls Preis, three films I composed music for were screened: Majini, Schlechte Menschen, and Turmspringer. Experiencing these very different projects side by side in a festival context was both rewarding and reflective. Each film represents a unique collaboration, aesthetic, and musical approach, and I’m grateful for the opportunity to see them shared with an engaged audience.
VENA at the German Film Awards 2025
VENA at the German Film Awards 2025

VENA at the German Film Awards 2025

VENA was nominated for the 2025 German Film Award, an experience marked by pride, gratitude, and reflection. Although the film did not receive the Lola, the nomination itself felt like a powerful affirmation of its emotional impact and artistic integrity. VENA is a project shaped by courage, trust, and a clear creative vision, and its recognition showed that it resonated deeply with audiences. As the composer, being part of this journey was a profound honor. The collaboration with director Chiara Fleischhacker was defined by openness and mutual respect, allowing the music to serve the story with restraint rather than dominance. The score was intentionally subtle, emotional, and supportive, living in the background and giving space to the film’s message. That such understated work was acknowledged made the nomination especially meaningful. More than an award, this moment represents shared pride, lasting joy, and music becoming an integral part of a film.
RITUS – Premiering at Filmfest München

RITUS – Premiering at Filmfest München

Excited to share that Ritus, the new six-part mystery thriller series for ARD, is set to have its world premiere at Filmfest München on June 28 — and I had the pleasure of composing the score. Produced by MadeFor Film for ARD Degeto and Hessischer Rundfunk, the series stars Moritz Bleibtreu, Maximilian Mundt, Seyneb Saleh, and Anna Shirin Habedank in a dark, atmospheric story about identity, ancient secrets, and the power of the past. Can't wait for you to hear it.
SCHLECHTE MENSCHEN at the ISFMF 2026

SCHLECHTE MENSCHEN at the ISFMF 2026

For the third year in a row, I'm thrilled to share that I've received a nomination at the International Sound and Film Music Festival – this time for my score to the German series SCHLECHTE MENSCHEN, in the category Best Original Score, Series or Limited Series. When I first saw the nominee list, I had to take a moment. Sharing a category with composers like Cristobal Tapia de Veer, whose work on The White Lotus has been nothing short of extraordinary, or Antonio Sanchez, whose score for The Studio has been turning heads across the industry – that's not something I take for granted. These are artists I deeply admire, and being mentioned alongside them is both humbling and genuinely exciting. SCHLECHTE MENSCHEN has been one of those projects that stays with you. The tone, the characters, the world the directors built – it gave me so much creative space…
Nominated for Best Original Score at die Seriale 2026

Nominated for Best Original Score at die Seriale 2026

The series BAD PEOPLE, for which I composed the original score, has been nominated for Best Original Score at die Seriale — the International Series Festival Giessen. The festival, one of Germany’s longest-running dedicated to short-form digital series, will take place in June 2026. Being nominated alongside composers from across the international festival circuit is a meaningful recognition, and I’m grateful it found its audience beyond the production itself. Working on BAD PEOPLE was a precise and enjoyable creative challenge — the series has a very specific tone, and finding music that supports that without overplaying it was the goal from the start. I’m looking forward to the festival and to seeing the series celebrated in this context.
Best Pitch at the Junior Entertainment Talent Slate

Best Pitch at the Junior Entertainment Talent Slate

This year I was selected as one of the composers at the Junior Entertainment Talent Slate (JETS), and it was an inspiring experience. I met great people, had honest, energizing conversations, and discovered a wide range of exciting projects across very different genres and storytelling approaches. When it was my turn to pitch, I was honestly very nervous — my voice was shaking more than I’d have liked — but I’m incredibly grateful (and still a little overwhelmed) to have received the Best Pitch Award. Thank you for this amazing time and for bringing us all together.
Grimme Award Nomination for Schlechte Menschen

Grimme Award Nomination for Schlechte Menschen

The series Schlechte Menschen, for which I composed the original score, has been nominated for the Grimme Award. The nomination highlights the show’s distinctive tone and storytelling approach. I’m thankful to have contributed musically to a project that resonates culturally and socially, and to have worked with a team that valued nuance, restraint, and character-driven storytelling.
Deutscher Filmmusikpreis 2025

Deutscher Filmmusikpreis 2025

I was honored to receive the Deutscher Filmmusikpreis 2025 in the Young Talent category. The award is a meaningful recognition of the work of recent years and of the many collaborations that shaped these projects. I’m deeply grateful to the directors, producers, musicians, and teams who trusted me with their stories and allowed music to become part of their narrative voice.
Scoring Begins for the Series Seelendorf (AT)

Scoring Begins for the Series Seelendorf (AT)

Work has begun on the original score for the series Seelendorf. Long-form storytelling offers a unique musical opportunity: themes can grow, transform, and deepen alongside the characters over time. The focus lies on atmosphere, subtle development, and emotional continuity rather than immediate musical statements. I’m looking forward to shaping the sonic identity of this world and accompanying the narrative across multiple episodes as it unfolds. More infos soon..
Max Ophüls Preis: Three Screenings

Max Ophüls Preis: Three Screenings

At this year’s Max Ophüls Preis, three films I composed music for were screened: Majini, Schlechte Menschen, and Turmspringer. Experiencing these very different projects side by side in a festival context was both rewarding and reflective. Each film represents a unique collaboration, aesthetic, and musical approach, and I’m grateful for the opportunity to see them shared with an engaged audience.
VENA at the German Film Awards 2025

VENA at the German Film Awards 2025

VENA was nominated for the 2025 German Film Award, an experience marked by pride, gratitude, and reflection. Although the film did not receive the Lola, the nomination itself felt like a powerful affirmation of its emotional impact and artistic integrity. VENA is a project shaped by courage, trust, and a clear creative vision, and its recognition showed that it resonated deeply with audiences. As the composer, being part of this journey was a profound honor. The collaboration with director Chiara Fleischhacker was defined by openness and mutual respect, allowing the music to serve the story with restraint rather than dominance. The score was intentionally subtle, emotional, and supportive, living in the background and giving space to the film’s message. That such understated work was acknowledged made the nomination especially meaningful. More than an award, this moment represents shared pride, lasting joy, and music becoming an integral part of a film.
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