dm International Captures Slices of Life in Latest Campaign
Retail store dm makes a strong statement for its latest campaign from DODO Wien and Goodhouse Films. The film celebrates #ganzich (#completely) and expresses exactly what is deeply anchored in your soul, 'Here I am a person, here I shop'. Everyone is welcome at dm - regardless of gender, age, origin, sexuality, religion, lifestyle, appearance, etc. dm wants to encourage you to get to know yourself, to feel your own needs and therefore to have good relationships.
Director Nina Aaldering sat down to discuss more about the campaign.
Q> What was the brief on this project and where did you decide to take it?
Nina> The initial brief from DODO, the agency for dm International, was a mood film which showed people celebrating themselves and feeling great in their own skin - embracing life, connections, and personal joy. It was about capturing slices of life, real and intimate moments that resonate deeply.
From there, I wrote a treatment, curating scenes that felt authentic, memorable, and visually striking. They gave me a lot of freedom and we really worked together on finalising all the vignettes. We wanted to highlight individuals who are unapologetically themselves - stories that would linger in the viewer's mind. Some moments are surprising, others are subtle, but each is carefully framed with thoughtful photography. That visual storytelling was at the core of my process throughout.
Q> It's a very empowering spot - what was the energy and overall tone you wanted it to have - and did you know that from the get go?
Nina> From the very beginning, the agency emphasised that this needed to feel like a celebration: togetherness, confidence, and joy in one's own skin. That sense of empowerment was essential. I wanted it to be a film that didn’t just look beautiful but felt uplifting, inspiring people to embrace themselves fully.
Q> What was the process of selecting the cast for the film? Were there any specific characteristics you were looking for?
Nina> Casting is one of my favourite aspects of filmmaking. Given the nature of this project - a film told through brief, evocative moments - we we’re looking for people who could convey a story in a single glance. The kind of presence that draws you in, even without words.
One of the most special casting choices was a remarkable dancer with visible scars. As someone who carries my own scars, I saw a piece of my own journey in hers. She brought such raw beauty and strength to an intimate scene with her real-life boyfriend - who had never been on camera before. Guiding them through that moment, seeing her help him open up, was moving.
The gymnastic girls were another standout. We found a local team, including a European champion on the trampoline. Watching them flip and fly, completely in their element, was breathtaking. What made them even more fascinating was the stage of life they were in - caught between childhood and adulthood. One moment, they were laughing and playful, full of youthful energy; the next, they exuded strength and discipline far beyond their years. One foot still in their carefree world and the other stepping boldly into the future.
Q> Where did you shoot the spot, how long did it take and were there any memorable moments on set?
Nina> We shot over six days, mostly during the golden hours in and around Lisbon. The logistics were challenging - so many locations, mostly exteriors - but the production team at Goodhouse Films, service production Mamma Team and our local crew were phenomenal. Our DP, Douwe Hennink, and first AD, João Pedro Ruivo, worked closely with me to craft a schedule that maximised the light and the moment.
Inevitably, there were times when we had to sacrifice a scene or location for the greater good of the film. But the agency and client were incredibly adaptable, always prioritizing the essence of the story over rigid plans. That level of trust allowed us to create something truly special.
Q> Tell us about the pace and journeying of the spot - it's very tightly edited. How closely did you work with the editor?
Nina> The tight editing plays a huge role in the film’s emotional impact. The editor, Govert Janse, is someone I collaborate with often, and his ability to see the footage with fresh eyes is invaluable. He’s never afraid to challenge the material, to find a rhythm that elevates the emotion. That back-and-forth process always results in something more layered, more alive.
Q> And lastly, at what point did you land on the song? It perfectly accompanies the campaign's message.
Nina> The song originated as an idea from the agency. They fell in love with it long before me and Goodhouse became involved. They essentially crafted the film around this song, which has evolved into a powerful anthem.
