In Circle

In this exclusive Œditorial, director and photographer Mario Palufi reflects on his debut fashion film following its premiere at last week’s Berlin Fashion Film Festival

While other 11-year-olds longed for a PlayStation, Borneo-born photographer and director Mario Palufi “cried his heart out for an Olympus 2MP camera” instead. After striking a deal to work harder at school, his father eventually relented. For the next three years, the point-and-shoot rarely left Palufi’s side, as he assumed the role of designated documentarian of school trips and family holidays.

He recalls a six-hour drive from Pontianak to Ngabang, during which he insisted on stopping to photograph a man on the roadside. When his bemused parents questioned the necessity of snapping the sweat-drenched stranger, Palufi candidly replied: “He looks interesting and natural in all of that mess.” Despite that early instinct, photography proved an unaffordable hobby, prompting him to shelve his camera for several years.

While studying 3D design in Sydney, Palufi found his way back behind the lens, gifting himself a Canon EOS 7D for his 21st birthday. Between lectures and barista shifts, he supplemented his income with wedding and lifestyle shoots, which paved the way for later collaborations with Birkenstock, Swatch and Samsung. Commercial projects reignited his interest in editorial fashion — a direction he has continued to pursue since relocating to Berlin in 2021.

On 12 February, Palufi’s debut fashion film, In Circle, premiered at the 13th Berlin Fashion Film Festival (BFFF). Shortlisted for the Cinematography award within the Rising Star category, the film crystallises the director’s spiritual preoccupations with seeking to live authentically within an increasingly disconnected, materialistic society. Featuring eight independent designers, In Circle reflects on what it means to belong to one another, the earth, and the future unfolding between us.

ABOVE
Skirt – Yvonne Wadewitz
Top & earrings – Hannah Stölting
Shoes & gloves – Stylist’s own

What initially drew you behind the lens, and does that impulse still underpin your work today?

When I first picked up photography, I loved being alone with my camera, observing the world. I’m not very good at painting or writing, so it naturally became my medium for creative expression. I would revisit a place that people might consider ‘shitty’ and focus on a single detail, trying to find the beauty within it. Sometimes that dirt or chaos is the beauty — it all depends on how you compose it.

Ironically, what excites me most about my work today is almost the opposite. From a direction perspective, I’m driven by collaboration — the prospect of networking with other creatives and pooling our visions into something bigger. This is especially true for film, which often requires a large team. Although the process is highly technical and detailed, it also demands surrender.

Understanding and communication are essential components for reaching that flow state. Yet there are times when you arrive on set having met few — if any — of the team before, so you have to be present and trust that everyone shares the same intention. When you see the team syncing in a dance-like rhythm, it’s incredibly energising. At a certain point, you don’t even need to speak — you can feel that everyone gets it.

What typically informs your visual language?

Inspiration comes from many places — films, books, poetry, music, other artists and even social media. But it also comes from subtle things: the way light shifts at a particular time of day or certain smells that unlock memories. Ultimately, my work is informed by my interest in spirituality, mysticism and finding depth in everyday moments.

I rely heavily on intuition — noticing synchronicities and trusting the process. Ideas tend to surface when I’m relaxed and present rather than actively searching for them. Sometimes a direction might seem imperfect at first, even a bit crazy, but I’ve learned not to overcorrect those moments — they often hold the most truth.

LEFT/ABOVE
Dress – Moxdalu
Shoes – Essie Kramer

Congratulations on the premiere of In Circle at the BFFF last week. How did it feel to be shortlisted?

Thank you — it’s been such a moving experience, especially as this is my first fashion film. I received the news while I was in Italy with my mum, who was visiting over Christmas, which made it even more special. I honestly didn’t expect to be shortlisted, so it came as a genuine surprise — we submitted the film on the day of the deadline, as last-minute as you can imagine.

Once we decided to enter, my colleague and director of photography, Peter, handled the submission. In Circle wasn’t originally intended as a short film; it began as a photo series, so I’m grateful it evolved the way it did. The nomination felt less like a planned milestone and more like a natural alignment. Everything seemed to fall into place.

How did the project evolve into a fashion film?

The original concept for the photo series developed very naturally. I met Hanni, the stylist and my main collaborator, while we were on set for another project last summer. We grabbed a coffee afterwards and began brainstorming ideas for a fashion editorial — two weeks later, we were on set.

A few days before the shoot, I was still looking for someone to assist with photography direction and equipment when Peter reached out and offered to help. While we were texting about lighting, he mentioned bringing his RED camera to capture moving images alongside the stills. I’d been wanting to explore film more seriously, so it felt like the right moment. That’s when I first considered turning In Circle into a fashion film — or even just capturing a short introduction scene alongside the editorial.

As we were shooting, it became clear the narrative needed to be explored properly through film. We decided on the spot to shoot moving images back-to-back with the stills. It was completely spontaneous and very last-minute, but it came together beautifully. Even the fact that we were shooting outdoors in June and the weather held all day — which feels like a rarity these days — deepened that sense of divine timing. Everyone was really happy with the result.

LEFT/ABOVE
Hooded top – Ricky
Sheer maxi dress – Mare
Long gloves – Nowrubi
Hooded white dress – Toebrock
Leather chaps & earrings – Stylist’s own

RIGHT/BELOW
Dress – Moxdalu

Could you talk us through the film’s overarching narrative and what first sparked the idea?

Last year, I became increasingly fascinated by my experience of living in Berlin, surrounded by people from very different backgrounds. As individuals moulded by distinct cultures and upbringings, friction is inevitable — no two people share the same lens. Yet within my circle, there’s a quiet harmony. We don’t always approach situations in the same way, but we actively try to understand each other better.

Despite our surface-level differences, we recognise that we’re connected simply by being human. That reflection became the film’s through-line. In Circle traces three women from different worlds who gravitate towards a large sculptural human heart — a physical and metaphorical meeting point that symbolises unity.

Ultimately, everything circles back to the power of the human heart — steadily ticking away like a clock. At a time when our minds feel so saturated with external messaging, I wanted to remind people that when you slow down, listen to — and lead with — your heart, the assumptions we inherit from society or our upbringings begin to dissolve.

The film is anchored by themes such as unity, identity and the natural world. Why was it important to reflect on these ideas right now?

When I began mapping out the concept, war and political unrest felt heightened. Scrolling through social media, we were faced with a constant stream of violence and polarisation, so I wanted to offer a visual counterpoint — a reminder that, despite uncertainty, we’re still capable of moving forward together.

For me, creating art is about contributing something meaningful. I’m not trying to change the world overnight, but I do feel a responsibility to offer perspective. While it’s important to acknowledge that light exists just as much as darkness, when we’re constantly bombarded with heavy news that leaves us feeling hopeless, I felt compelled to create something that highlights what unifies us rather than what divides us.

Borders once served a purpose, but today they feel more like mechanisms of separation than protection. In the natural world, species migrate, adapt and coexist without imposed hierarchies. We can learn a great deal from nature, so I wanted to offer it as a blueprint — something we can look to and reconnect with when tensions are high.

ABOVE
Hooded top – Ricky
Sheer maxi dress – Mare
Long gloves – Nowrubi
Scarf & hooded dresses – Toebrock
Shoes, leather chaps & accessories – Stylist’s own

With no dialogue, fashion becomes In Circle‘s primary narrative device. How did you ensure styling conveyed the film’s core themes?

From the outset, I worked closely with Hanni, the stylist and my main collaborator, who selected the garments through her strong storytelling sensibility. She really understood my creative direction notes, distilling the essence of what it means to be human and to belong to this planet.

The film was shot at the Lieberose Desert in Brandenburg. To honour nature’s cyclical rhythm, we blended the garments seamlessly into the dry, sandy terrain. The tones and textures mirror that raw, earthy quality, making the clothing and characters feel like an extension of the landscape. In nature, there is no ‘good’ or ‘bad’ — it simply exists. The muted, neutral tones echo the notion of approaching people without judgement.

Across all six looks, the palette is complementary, subtly aligning with the women’s skin tones, which reminds us that surface-level differences do not determine our ability to unite. The silhouettes and fabrics balance strength and softness. Structured forms carry a high-fashion elegance, converging with tactile, floaty and rugged fabrics — symbolising the duality that exists within all of us.

Clothing can be a powerful tool for expressing identity. How does the styling articulate the protagonists’ unique and converging qualities?

What we wear plays such a big role in how we’re received — even before a word is spoken, assumptions are already made. On a subconscious level, we react instantly and form an emotional response: are we at ease, cautious or curious? It’s difficult not to interpret someone through what they wear. That’s one of the reasons I was drawn to making a fashion film — to illuminate how powerful clothing can be as a form of authentic expression.

In the film, there’s no hierarchy, no heroes or villains. All three women are equal protagonists, each bringing her own unique style and qualities into the shared heart space. It was important that every look felt honest to the woman wearing it. Each protagonist has her own distinct visual language and energy, but when they come together, the looks still feel cohesive. It shows that you can stand firmly in who you are and still move in harmony with others.

LEFT/ABOVE
Dress – Moxdalu
Shoes – Essie Kramer

RIGHT/BELOW
Leg warmers, scarf & hooded dresses – Toebrock
Hooded top – Ricky
Sheer maxi dress – Mare
Long gloves – Nowrubi
Leather chaps & accessories – Stylist’s own

At what point did you decide that the BFFF was the right platform to showcase the film?

After the shoot, it took a while to figure out what we wanted the film to become. It ended up being a six- to seven-month process, slowed down by my busy schedule. Once we saw the rough cut, we knew it deserved more than just a fleeting social media moment. Attending the BFFF screenings last July confirmed it was the right platform. We wrapped up the final cut around two weeks before the 20 December deadline.

Given that this was your first fashion film, what were the biggest challenges you encountered?

Timing was definitely the biggest challenge. A last-minute change of plans, combined with a two-hour drive to Brandenburg, significantly limited our window of natural light. With such a small team, shooting everything in one go probably wasn’t the wisest decision. We were constantly racing to capture the final looks before sunset. There was a lot of pressure, and sacrifices were inevitably made, but I’m proud of how everyone adapted — and in the end, it was worth it.

LEFT/ABOVE
Hooded top – Ricky
Sheer maxi dress – Mare
Long gloves – Nowrubi
Scarf & hooded dresses – Toebrock
Leather chaps & accessories – Stylist’s own

Now that In Circle has premiered, do you intend to submit the film to any other festivals?

We haven’t ruled out submitting it to other festivals, but it has to feel natural — I don’t want to force anything. I’d rather go with the flow and allow things to unfold now that the film has premiered. Time will tell whether BFFF was its final destination or whether it will travel further. I try not to place too much pressure on these things.

Beyond the film, what are you most looking forward to as you step into this next chapter?

I’ve already confirmed several fashion shoots this year. I’m looking forward to connecting with more creatives and continuing to build my editorial portfolio. I also have another exhibition at Studio 1111 in the pipeline with friends and collaborators. This time, the intention is to lean more towards fashion, as my last show was purely art-focused.

We’re also developing another film incorporating garments and sculpture, which we plan to present as part of the exhibition. At the moment, we’re looking for sponsors and production partners who believe in the idea and want to help bring it to life. I’m excited and curious to see where this next chapter leads.