KinoInternational_2026_Aussen_Copyright-Daniel Horn
Envisioned by Josef Kaiser in the 1960s, with its wood-panelled walls and wide, white facade, Kino International is an icon of East German modernist architecture. Its soul exists in the details: the hand-painted film posters that hang out front and the unexpected friezes round the back that depict the everyday lives of DDR citizens, not to mention the eight rows with extra leg room, once reserved for state officials, epitomising the socialist-luxury hypocrisy of the time. After all, above anything else, Kino International was built to exude cinematic glamour.
But for almost two years, its interior has been stripped bare : mid-renovation, mid-memory and mid-rebirth. The doors closed in 2024 for a comprehensive renovation that reached deep behind its well-preserved 1960s facade. We caught up with Thore Horch, the venue’s head of events, who gave us a tour of Kino International during its restoration.
The Haunted Ballroom
Standing inside Kino International’s famed Panorama Bar felt like living a scene from The Shining: silent, grand and eerily timeless. Although the bar’s classic decor had been preserved, behind the counter, things had changed: improved utility setup and a deeper bar area, all to better serve modern audiences while preserving the venue’s original feel. The wide, glass wall remained the same, offering an unbroken view over Karl-Marx-Allee.
All faded glamour and 1960s modernism, the bar is so much more than just a break area. Standing there, it felt like a character in its own right, a memory of architecture and pleasure engrained in the minds of all who visit. The Berlinale has frequently used the space for its premieres, offering guests an unmatched view and ample space to mingle.
“It’s the biggest plus of this cinema,” noted Horch. “You can have everyone from a premiere here, all in the same place.”
KinoInternational_2026_Aussen_Copyright-Daniel Horn
Walking through the empty lobby, Horch explained that the last two years were about more than a facelift. It was a cultural mission. “Some people call it a reconstruction,” he said. “But it’s a renovation. That distinction matters. Everything will look the same as in its former glory.”
This cinema has run nearly non-stop for 60 years, pandemic aside. It deserves to keep going – not just as it was, but better.
Indeed, preservation was paramount. From the seating chart to the curtain fabric, they safeguarded everything that audiences remembered – or romanticised – about Kino International. Even the Lynchian-style bathrooms, installed for the cinema’s 50th anniversary, have stayed put. But behind the scenes, it was an overhaul. They replaced the wiring absolutely everywhere, renewing the AC system and redoing the massive roof (courtesy of city funding). Yorck Cinema Group, which purchased the venue in the mid-1990s, worked to maintain it over the decades. But this was the most ambitious undertaking yet.
Behind The Magic
Inside the auditorium, the sheer scale was breathtaking. All the seats were removed. The sweeping, curved ceiling – a signature feature of East German modernist architecture – hung above like a massive wave. Horch gestured toward a set of wooden panels stored in carefully labelled boxes, each one removed by hand and sent to a restoration specialist workshop for precise historical repair in Weißensee. Wood, glass, stone: each element had its own material specialists working on it. Nothing was left to chance.
“The ceiling is a solid piece, custom-built for acoustics,” Horch said. “You can’t move it. You shouldn’t. That’s why we won’t install ceiling speakers, even if that’s the industry standard now. We’re preserving the historic integrity.”
Instead, they devised a way to upgrade the sound while protecting the building’s character. The new sound system now offers 7.1 surround and a state-of-the-art laser projector. There’s also capacity for analogue projection, ensuring the venue remains Berlinale or special-events ready, should archival prints ever need a home.
“When Kino International opened, it was always intended to be technically top-notch,” Horch explained. “It was the first cinema in East Germany to support stereo sound, and it was one of the first to go digital. That mindset hasn’t changed.”
Even the new screen was a technical marvel: less curved than the original, since digital projection doesn’t suffer the focus issues of older analogue systems. Still, the glittering curtains, iconic blue velvet and the room’s unique acoustics all remained true to their origins.
Sound is deeply embedded in the building’s architecture. Its angled and slatted wooden wall panels aren’t just aesthetic. They break up parallel surfaces, improving acoustics naturally.
“You don’t need a mic to speak to 500 people here up at the front or back,” Horch said. “It was designed that well.”
KinoInternational_2026_Aussen_Copyright-Daniel Horn
Past, Present and Future
Kino International will reopen on February 26, 2026. Originally, there was hope of reopening for the 2025 Berlinale, but the project’s historical scope made that timeline impossible. Instead, the team focused on getting it right.
“It’s a living monument,” Horch said. “This cinema has run nearly non-stop for 60 years, pandemic aside. It deserves to keep going – not just as it was, but better.”
Later in the tour, we met with Yorck Kino Managing Director Christian Bräuer. He was passionate about the distinct identity of Berlin cinema culture and how Kino International fits into it.
“Theatrical experience is something we define differently here,” he said. “It’s not just about blockbuster entertainment. It’s about cinema as culture.”
Bräuer noted a striking contrast between European and American audiences. While many US cinemas are still recovering from the pandemic, Berlin’s arthouse sector is thriving, often with younger, more diverse crowds than before.
“At Yorck, we’re already past pre-pandemic levels,” he said. “And younger people are coming back to the cinema – not just for the likes of Marvel, but for The Zone of Interest, Dune: Part Two and Shrek 2, in which masses donned green costumes.”
Yes, that actually happened. Bräuer proudly recalled the 60th anniversary screenings that drew crowds in costume, turning the cinema into a community celebration. There are many revival screenings happening at the kino weekly. But Kino International isn’t just fun; it’s historically and politically significant.
Bräuer recounted the premiere of Coming Out in 1989, a seminal queer East German film directed by Heiner Carow through the DEFA film production house. It screened at Kino International just as the Berlin Wall fell. That same week, Dirty Dancing was showing to packed audiences, symbolising the pull of Western culture.
From the seating chart to the curtain fabric, everything that audiences remember – or romanticise – about Kino International is being safeguarded.
“It was the moment something changed forever,” Bräuer said. “It was special, with this night and the Wall. It showed the changes in society. Before it wasn’t possible to show queer movies, so here we had this reunified Germany and history being made at Kino International. And we’ve shown Coming Out regularly ever since, with the original cast coming down. It’s a tradition.”
Today, the cinema’s legacy as a queer and inclusive space continues. Mongay, a regular series, screens queer cinema every Monday (its currently residing at Babylon Kreuzberg whilst renovations take place).
KinoInternational_2026_Aussen_Copyright-Daniel Horn
Cinema Forever
For Bräuer, the mission of Kino International goes beyond preservation. He spoke of cinema as something hyper-local, deeply embedded in Berlin’s Kieze, and something that must adapt to remain relevant.
“The idea is not to be a museum, but to modernise responsibly. It’s about sustainability, access and experience. We always ask: how do we make cinema part of daily life again?” he said. “Not just for cinephiles, but for everyone.”
That might mean screening a niche Asian arthouse film next to a crowd-pleasing European comedy. Or offering both German and English subtitles for major releases (and a lot of the smaller ones, too), something Kino International did successfully with The Zone of Interest, selling over 100,000 tickets, more than any other cinema worldwide.
“Berlin is changing,” Bräuer said. “So are its audiences. But if we do it right, cinema can be dynamic, always evolving with the city.”
When Kino International reopens it will mark more than 60 years since its original launch with An Optimistic Tragedy in 1963. The Soviet film directed by Samson Samsonov, based on the play by Vsevolod Vishnevsky, represents the philosophical concept of the loss of the old making way for the new.
In many ways, the cinema itself has continued to make that statement ever since. The voyeurs of its panorama bar overlook Karl-Marx-Allee, a boulevard steeped in historic echoes. Kino International is a symbol of architectural pride, cultural identity and cinematic ambition, remembering its roots without getting stuck in the past. And upon reopening, this statement will ring out to the crowds through restored speakers and into the heart of a new wave of film.
KinoInternational_2026_Aussen_Copyright-Daniel Horn