DCM Film Distribution
At DCM, I worked on digital marketing strategies for cinema releases, combining storytelling with data-driven campaign management.
Role: Head of Digital Marketing (before: Digital Media Manager)
Years: 2013–2019
my personal highlights
MOONLIGHT
(2017)
I am proud to have been part of the campaign for Moonlight, supporting its theatrical release in Germany. The film reached an audience over 450K cinema visitors nationwide, contributing to a strong box office performance in a highly competitive market. The digital campaign played a key role in building awareness and engagement:
more than 33,000,000 impressions across Facebook, YouTube, Instagram, and the Google network
more than 3,000,000 video views
Working on Moonlight was particularly meaningful to me - not only because the film went on to win the Academy Award for Best Picture and became one of the defining independent films of its time - but for the emotional and audiovisual enjoyment in the cinema.
SO WAS VON DA
(2018)
Even though the movie release wasn’t really succesful, I particularly enjoyed working on So Was von Da, a film adaptation directed by Jakob Lass, known for his distinctive “Fogo” approach — a production style based on improvisation, real environments, and a fluid interaction between actors and non-actors. For the film shoot, we co-organised three party nights in Hamburg, which functioned simultaneously as real events and film sets. Admission was free, and guests were invited to simply take part — becoming part of the film as extras without a clear separation between audience and production. The scenes were shot directly within the unfolding parties, capturing an atmosphere that could not have been staged in a conventional way. This approach created a unique blend of documentary realism and fiction, with spontaneous interactions shaping the final material. Being involved in this process — and actively participating in the nights themselves — was a rare and memorable experience, blurring the boundaries between production, audience, and lived moment.
HIGH-RISE
(2016)
Working on the campaign for High-Rise, starring Tom Hiddleston, I was getting valuable insights into the evolving role of data-driven marketing in film distribution. While the theatrical release performed modestly, the campaign was structured as a multi-phase strategy rather than a one-off launch. The cinema run served basically as an initial awareness phase, generating a substantial volume of impressions and audience touchpoints across digital channels. These early signals became particularly relevant in the subsequent home entertainment release. By leveraging data collected during the theatrical campaign, we were able to refine targeting strategies, apply retargeting mechanisms, and build on existing audience awareness. This approach allowed us to extend the lifecycle of the film’s marketing, shifting focus from immediate box office performance to longer-term audience engagement and retention. In that sense, the campaign demonstrated how visibility and data gathered in the first phase can be strategically reused — turning initial underperformance into a foundation for sustained impact in later distribution windows.
