Berlin’s Heist: A Glamorous but Flawed Prequel

The opening shot of Berlin (2023) is a slow pan across the Seine at night, the City of Light glittering under the darkness—a promise of glamour and danger. This prequel to Netflix‘s Money Heist trades the claustrophobic intensity of the original for a more expansive, globetrotting heist thriller, but it’s not without its missteps.

At its core, Berlin is a love letter to classic caper films, with Pedro Alonso reprising his role as Andrés de Fonollosa, aka “Berlin,” the charismatic criminal mastermind from Money Heist. The series dives into Berlin’s past, showcasing his glamorous life in Paris as he assembles a crew for a high-stakes jewel heist worth €44 million. The first season, titled Berlin and the Jewels of Paris, is set primarily in the French capital, with a wider 2:1 aspect ratio that gives the characters room to breathe—and the city room to dazzle.

What works best about Berlin is its chemistry between the core cast. Alonso brings his signature charm and wit, but it’s Michelle Jenner as Keila who steals scenes with her fierce, unapologetic presence. The dynamic between Berlin and Camille (Samantha Siqueiros), the wife of the man he plans to frame, adds a layer of emotional complexity that elevates the series beyond mere spectacle. The supporting cast—Begoña Vargas, Tristán Ulloa, and Julio Peña Fernández—also deliver strong performances, grounding the heist elements in genuine camaraderie.

The series excels in its set pieces, particularly the heist itself, which is executed with precision and tension. The cinematography is lush, capturing Paris’s beauty while also highlighting the moral decay beneath its surface. Lucas Peire’s score, especially the haunting main theme Bullets and Flowers, adds an extra layer of emotional depth.

However, Berlin stumbles when it tries to balance heist mechanics with romantic drama. The series leans heavily into Berlin’s love story with Camille, which, while well-acted, often feels at odds with the more straightforward heist narrative. The pacing in the first few episodes is uneven, and some subplots feel tacked on rather than organically woven into the story.

The second season, Berlin and the Lady with an Ermine, improves on some of these issues by returning to a more focused narrative. The addition of Álvaro Morte as The Professor, Berlin’s brother, adds a compelling new dynamic, though it sometimes feels like fan service rather than necessary storytelling. The heist in Seville is well-executed, but the series still struggles with balancing its multiple genres.

The creators Álex Pina and Esther Martínez Lobato wanted to do something “lighter” after their previous projects. In comparison to Money Heist, Berlin has more comedic tones and employs more actors and locations. This shift in tone is evident in the way the series handles its characters and their relationships. The wider aspect ratio gives the characters “more of a scenic experience of their surroundings,” which adds to the visual appeal but sometimes at the expense of narrative focus.

The series also benefits from its international setting, with Paris serving as a character in itself. The city’s iconic landmarks and hidden corners are showcased beautifully, adding depth to the story. However, this global approach can sometimes feel like window dressing, with the locations overshadowing the characters’ emotional arcs.

One of the standout elements of Berlin is its exploration of themes such as love, loyalty, and betrayal. The series delves into Berlin’s complex relationships, particularly his love for Camille and his loyalty to his crew. These themes are explored with nuance and depth, making the characters more relatable despite their criminal endeavors.

The second season introduces a new heist in Seville, targeting a da Vinci masterpiece. This shift in location and target adds freshness to the series, but it also highlights some of its weaknesses. The pacing in the second season is more consistent, but the series still struggles with balancing its multiple genres. The addition of The Professor adds a layer of intrigue, but his presence sometimes feels forced, as if the creators are trying too hard to connect Berlin to Money Heist.

The performances in Berlin are a mixed bag. Pedro Alonso is excellent as Berlin, bringing charm and charisma to the role. Michelle Jenner shines as Keila, adding depth and complexity to her character. However, some of the supporting cast members, such as Tristán Ulloa and Julio Peña Fernández, feel underutilized. Their characters are interesting but often overshadowed by the main protagonists.

The series also suffers from some pacing issues. The first season starts strong but loses momentum in the middle episodes. The second season improves on this, but there are still moments where the narrative drags. This uneven pacing can make the series feel longer than it is, which is a shame given the strong performances and engaging storylines.

Despite its flaws, Berlin is a solid addition to the Money Heist universe. It offers plenty of style and substance, even if it doesn’t always know how to balance them. Alonso’s performance is a highlight, and the series’ visual flair makes it a treat for the eyes. The exploration of themes such as love and loyalty adds depth to the story, making it more than just a straightforward heist thriller.

Ultimately, Berlin is a series that will appeal to fans of Money Heist and heist thrillers in general. Its strong performances, engaging storylines, and stunning visuals make it worth watching, even if it doesn’t always hit the mark.