The series, sold by Beta Film, premieres at TIFF in its Primetime section on Sept. 10

By Marta Balaga

You might already know the ending of “Blindspot Berlin,” a new series about the infamous December 2016 attack at the Christmas market in Berlin. But that doesn’t mean you shouldn’t watch it.  

“It was the only way to tell the story,” says David Nawrath, who directed and co-wrote the show. Producer Simon Amberger adds: “We start one and a half years before the attack. That gives it the dynamic of a tragedy because we all know what’s going to happen. And we have to accept it.”

He notes: “When we were first discussed this, we said: ‘Let’s tell this story in such a gripping way that people will watch it even though they know the ending. They will hope he gets caught, even though it’s clear he won’t.” 

The show, sold by Beta Film, was written by Nawrath, David Marian, Benjamin Seiler, Magdalena Grazewicz and Isabella Oliveira Parise Kröger. It’s produced by Amberger, Rafael Parente and Korbinian Dufter for Neuesuper. 

“Blindspot Berlin” details all the decisions made before the tragic event and the “systemic failures and human errors that led to this catastrophe,” lists Nawrath. 

“Entertainment is important in this industry, but we approached this subject with the utmost seriousness. We did our research carefully. We listened to as many perspectives as possible and looked at the issue from different angles. Of course, the big question is: ‘How do you deal with such a controversial theme?’ First, by accepting that it’s impossible to please everyone.”

Especially now. On July 25, Berlin experienced another attack when a man drove a van into a crowd of pedestrians during the Berlin Pride celebrations. 

“Back in the day, after the official inquiry was finished, an official said that many steps had been taken to ensure it would never happen again. And here we are,” notes David Marian. 

“When the information about this perpetrator came out, there were striking similarities between the two. So have we really learned our lesson?”

The team tried to stay close to the truth, but not all of the details are known to the public. Even now. 

“There were major gaps that we couldn’t fill through our research. At the same time, we’re not making a documentary. We felt free to invent characters and storylines to make it more dramatic,” says Nawrath. Marian notes:

“Then there’s also the question of how to talk about the victims. We didn’t want to impose any kind of suffering on them or exploit them in any way. But we always wanted to stay as close to the facts as possible.” 

Finding out more about the case was, at times, a frustrating experience. Can their show be viewed as a critique of the people who were in charge at the time?

“I hope so,” says Nawrath. 

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