ABOUT​

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With about 15 years behind the editing desk, I've learned that storytelling is storytelling, whether it's a high profile commercial campaign or an intimate independent film. My approach remains the same: I give 110%. To me, every frame deserves the same level of respect. I believe that great work is mainly defined by the dedication poured into the timeline.​

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My path to editing was shaped by two distinct creative disciplines. I first studied Photography, where I began to understand the power of a single image; the weight of composition, the mood of light. I then transitioned to the Berlin Film School dffb, where I graduated in Directing and learned to build storied across entire scenes.

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This background is my greatest asset as an editor. Having stood on both sides of the camera allows me to offer more than just technical proficiency. I don't just cut footage; I understand the director's intent, the actor's nuance, and the shot's purpose.

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My perspective, however, is also shaped by my heritage. I am German-Mozambican-Portuguese. I carry three cultural voices with me into the editing room. And this multicultural background is not a footnote; it's a filter through which I see the world and it allows me to navigate diverse storytelling.

Language deepens that connection. I am fluent in German, Portuguese, and English, and I have extensive experience in editing in French and Spanish; giving me the ability to handle projects in five different languages.

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​Rhythm is in my blood. When I'm not editing, I'm making music. Playing several instruments has taught me that storytelling is fundamentally musical - it has tempo, dynamics, silence, and crescendo. Music lives in the core of my editing process. It's a crucial part of how I understand rhythm, pacing, and emotion. When I edit I feel the footage like a melody. I try to feel the pulse of a scene before I make a first cut. And sense when a moment needs to breathe and when it needs to hit hard.​