I’m a Berlin-based film editor working across fiction and documentary. My focus lies in exploring narrative boundaries – always in search of the unpredictable within the material.

In more than 20 feature films screened at festivals like Cannes, Berlinale, Tribeca, TIFF or DOK Leipzig, I’ve come to see editing not just as a way of structuring stories, but as a tool to create atmosphere, contradiction, and emotional complexity.

In Sound of Falling (Cannes Competition 2025, Prix du Jury, ICS Award for Best Editing 2026, Astar Award for Best Editing, Oscar Shortlist), We Might As Well Be Dead (Berlinale, Tribeca Winner) and Wo/men (2024), my work engages with films that resist the conventional arc, the expected form, the obvious cut. For me, editing is a form of research, a process of listening to the material and working intuitively alongside the directors.

My approach is guided by radical openness: to process, to instinct, and to the unexpected.

With a background in Cultural Studies and Sociology, I bring both a socio-political and aesthetic sensitivity to the editing room. I’m a graduate of the Film University Babelsberg, a Berlinale Talents alumna, and a member of the European Film Academy (EFA), the British Film Editors (BFE) and German Association for Film Editing (BFS).

Right now, I’m working on several international co-productions that question and reshape narrative form and cinematic expectations.