Netflix's latest German-language series, Unfamiliar, has rapidly climbed to the summit of the platform's non-English viewing charts since its debut last week. In an exclusive conversation with Deadline, Sabine de Mardt, head of Gaumont Germany, shared insights about the production's groundbreaking achievements, including unprecedented access to Germany's intelligence headquarters, upcoming adaptation projects, and the evolving landscape for content creators in the country.
The six-episode series, which initially presents itself as a conventional espionage thriller, gradually reveals deeper layers of complexity. The narrative centers on Meret and Simon Schäfer, a married couple portrayed by Susanne Wolff (known for Styx) and Felix Kramer (from Dogs of Berlin), who have retired from active intelligence work. They now operate a clandestine safe house in Berlin, attempting to maintain a semblance of normal family life while their past refuses to remain buried. As the story unfolds through flashbacks to a compromised mission, viewers discover their daughter's surprising connection to those events. Adding tension, Samuel Finzi embodies the menacing Russian intelligence operative Josef Koleev, who arrives in Berlin with lethal intentions toward the couple.
The creative vision behind Unfamiliar emerged from a collaboration between British writer Paul Coates, whose credits include the long-running UK soap Emmerdale, Andreas Bareiss serving as lead producer for Gaumont, and Netflix's Jan Bennemann overseeing the project. According to de Mardt, the production team sought to deliver something beyond standard spy fare. "We were looking for a spy show, like everyone is looking for a spy show, and it's very entertaining and thrilling, but what I think is very special is that we have such a strong family dynamic," she explains. Coates himself articulates this distinction perfectly: the series begins as a spy thriller containing a family, but gradually transforms into a family story inhabited by spies.
This thematic duality resonates powerfully in today's uncertain global climate. De Mardt notes that the show's exploration of trust, deception, and hidden identities reflects contemporary anxieties. "It relates also to an overall feeling we have nowadays where things feel shaky and we don't know what's going on," she observes. "It becomes more current every day." The title itself cleverly encapsulates this concept, sounding like "family" while containing the word "liar," a linguistic choice that proves increasingly meaningful as secrets unravel.
What truly distinguishes Unfamiliar from other productions in the genre is its historic filming location. The series became the first fictional television production to shoot scenes within the actual headquarters of the German Federal Intelligence Service (BND) in Berlin. This achievement required extensive preparation and close coordination with security officials, but the result provides an authenticity that no constructed set could replicate. "The location brings a distinctive visual authenticity that would be difficult to replicate elsewhere," de Mardt emphasizes. The brutalist architecture and palpable atmosphere of the BND facility ground the narrative in tangible reality, enhancing the viewer's immersion in the covert world.
The production's success arrives at a pivotal moment for German content on the global stage. Following the international recognition of series like Dark and Barbarians, also a Gaumont production, Unfamiliar demonstrates the country's capacity to deliver sophisticated, universally appealing narratives while maintaining cultural specificity. De Mardt's dual role as both studio executive and influential member of Germany's producers association positions her uniquely to assess the industry's health.
Beyond Unfamiliar, Gaumont Germany has ambitious plans that showcase the company's versatile approach to storytelling. The studio is developing a contemporary reboot of Heidi, the beloved Swiss children's classic, which promises to introduce the character to new generations while respecting its timeless appeal. Additionally, The Wandering Harlot, another literary adaptation, is moving through the development pipeline, though details remain under wraps.
These projects reflect a strategic balance between internationally marketable concepts and locally rooted stories. De Mardt acknowledges the challenges facing German producers, including increased competition for talent, rising production costs, and the pressure to create content that stands out in an oversaturated market. However, she remains optimistic about opportunities for creators who can deliver distinctive voices and innovative approaches.
The domestic production landscape has evolved significantly, with streaming platforms providing both opportunities and complications. While global reach has expanded, so have expectations for production value and storytelling sophistication. German creators must now compete not just locally, but against the best international content available at viewers' fingertips. This reality has elevated standards across the board, pushing producers to take creative risks and explore unconventional narratives.
Unfamiliar exemplifies this evolution. Rather than relying solely on action sequences or procedural elements, the series invests heavily in character psychology and relational dynamics. The marriage between Meret and Simon serves as the story's true backbone, with their professional skills constantly colliding with parental instincts and personal vulnerabilities. This human-centered approach distinguishes the show within the crowded spy genre.
The casting choices further demonstrate this commitment to depth. Wolff and Kramer bring gravitas and nuance to their roles, portraying characters who are equally competent in tradecraft and domestic negotiation. Finzi's antagonist avoids cartoonish villainy, instead presenting a methodical and ideologically motivated threat that feels appropriately menacing for the contemporary geopolitical context.
While de Mardt remains diplomatic about potential future seasons, her comments suggest optimism. "We have lots of ideas," she hints, indicating that the show's conclusion leaves room for further exploration of these characters and their world. The series' strong performance makes renewal likely, though Netflix typically waits to announce decisions until viewing data is fully analyzed.
The significance of Unfamiliar extends beyond its immediate entertainment value. It represents a maturation of German television production, capable of attracting international talent like Coates while maintaining authentic local perspective. The BND access signals a new level of cooperation between government institutions and creative industries, potentially opening doors for future productions.
As global audiences increasingly embrace non-English content, series like Unfamiliar position Germany as a key player in the international drama marketplace. The show's blend of universal themes—family loyalty, betrayal, survival—with distinctly German settings and institutional context creates a template for successful cross-cultural storytelling.
For program-makers navigating this landscape, de Mardt's experience offers valuable lessons. The combination of a clear creative vision, strategic partnerships, and willingness to pursue unconventional opportunities—like filming at an active intelligence headquarters—can elevate a project from standard fare to something truly memorable. As the lines between domestic and international content continue to blur, such innovation becomes not just advantageous but essential.
The success of Unfamiliar suggests that audiences crave stories which honor genre conventions while subverting expectations. By placing family dynamics at the heart of a spy thriller, Gaumont Germany has created something that resonates on multiple levels, offering both the escapist thrills of espionage and the emotional depth of character-driven drama. In an era of unprecedented content choice, that combination may prove to be the ultimate competitive advantage.