Thank you for being part of the first International Conference for Intimacy Coordination 2023 in Berlin! We had 250 guests from all over the world joining the #ICIC2023 live & online.

Looking for the ICIC 2024? Click here

Berlin. During the opening weekend of the Berlinale, the German-speaking association for intimacy coordination and fight choreography (BIK) organized the first international industry meeting for the young creative position of intimacy coordination. With 250 visitors from all over the world and an online stream, the network meeting, which was used for professional exchange and knowledge transfer, was a complete success. Franzy Deutscher, first chair of the BIK and co-organizer of the conference, says about the “International Conference Intimacy Coordination”: „There were pioneers from Europe and beyond – ICs from Australia via Israel to Canada joined – this first ICIC was intensive and groundbreaking for the linking and strengthening of a global industry.“

Intimacy coordination is a new position on the film set and theater that has received more attention since the Me-Too movement. The work of the intimacy coordination begins even before the start of shooting and rehearsals and is committed to the professional and non-discriminatory execution of sex scenes and intimacy on stage and screen. Intimacy coordinators ensure that nudity scenes and simulated intimacy look real on screen or stage, are repeatable, and respect actors‘ boundaries.

Big names of the scene gathered in Berlin, who had already taken on the intimacy coordination in well-known productions such as “99 Moons“ (AIFF), “Perfect Addiction” (Constantin Film) and “Die Kaiserin” (Netflix). The professional exchange during the two days in Berlin covered topics such as diversity on set, European guidelines and best practices, „modesty garments“ – special equipment for nude scenes, intimacy coordination in theater and dance, or cultural differences and the risk of traumatizing actors. Samantha Murray, Actress and Intimacy Coordinator from Spain: “Thank you for a wonderful and inspiring weekend. I’m proud to have witnessed history being made over those two days.“

Next year the conference is to take place again during the Berlinale and hopefully lay the foundation for further international professional exchange on intimacy coordination.

The German-speaking association for intimacy coordination and fight choreography (BIK) was founded in 2019 and has 30 members from Germany, Austria and Switzerland. It stands for topics such as quality and security standards, (minimum) fees and the professionalization of both IC and Fightchoreography. Members can continue their education through the association, requests for productions are forwarded to them and they benefit from the professional exchange among themselves. Franzy Deutscher from Munich has been the first chair since 2019.

Press Contact: Franzy Deutscher,, 0176 63294148


Do you have any questions, or need a press accreditation? Please Contact us.

What do you consider to be great acting? And what do you think happens while the actor is „in character“? This short lecture is a declaration of love to the craft of acting – not so much the myth, but the psychosomatic reality of the work. Or perhaps to both? 

Julia Effertz

A passionate storyteller for stage and screen, Dr Julia Effertz is an actress, screenwriter, and intimacy coordinator. As Germany’s pioneer in the field of intimacy coordination, she introduced the position to German sets in 2019, and has since been coordinating a wide range of projects across film, television, and theatre. She regularly teaches young creatives at drama schools and film schools, and provides in-house training for production companies who wish to implement Best Practices when working with intimacy. Julia began her IC training with Intimacy on Set in London in 2019, and completed her training with the Intimacy Professionals Association in Los Angeles in 2021. She is a member of the European Intimacy Practitioners Guild (IPG) as well as the German Professional Association for Intimacy Coordination and Fight Choreography (BIK).

Consent and agreement practice asks us to request and respect; balancing a body in performance between the known whilst being present to the unknown. Intimacy coordinators must consider the nuances and personal aspects of a performer’s needs with sensitivity and clarity when navigating boundaries within a context of story, stage or set.

Kate Lush and Sam Murray will explore practical pathways to unlocking how bodies, narratives and background can all influence an engaged approach to the consent and agreement facilitation process.

Interactive: Consent Before “Action!”   

How do consent and agreement processes work to create engaged and authentic performance?

Why is consent always continuous and contextual?

What are the responsibilities of a performer to production?

What are the responsibilities of a production to the performer?

What to do if there is no agreement? What to do if there is no time?


A practical workshop exploring how an intimacy coordinator works with performers and production to facilitate authentic consent and agreement to a creative process.

Samantha Murray
is an intimacy coordinator based in Madrid and working across the EU, UK and AUSTRALIA. 

She has worked as an intimacy coordinator since 2021 across both series and feature film formats including for Apple TV+, Netflix, Amazon Studios, BBC Films, HULU, MRC, T-Street Films, Sunnymarch, Nuyorican Productions, Anonymous Content & Esperanto Filmoj.

As part of the SafeSets / Netflix ‘Grow Creative’ partnership (2021-23), Sam is a co-designer for curriculum and pedagogical lead to deliver excellence in IC skills development across the EMEA region. She has worked as a trainer with participants from Brazil, India, the Nordic regions, Europe, South Africa and the Middle East.
Before training as an IC, Sam’s experience spanned a 25+ year career as a professional stage and screen actor in Australia, as well as working with hundreds of young actors as a qualified educator (QTS) and director internationally.

Sam is part of Safe Sets (UK/SA), offers international services and consultancy for IntimAct (ESP) and is repped by Ness Evans at 42 in London.

Kate Lush:

Is an intimacy coordinator, movement coach and teacher with ‘Safe Sets’ in South Africa working on TV/Film and in theatre.
While in South Africa she has intimacy coordinated for Apple TV, Netflix, CBS, Amazon Prime & HBO Max, amongst others. Kate also spearheaded and delivered with the Safe Sets team a training programme for Netflix, who were looking to provide Intimacy Coordinators across the EMEA region and beyond.  This was then followed with a joint venture with Netflix Grow Creative, the NFVF (South Africa) and the IPO (South Africa) to deliver a similar course in South Africa and the Middle East.

Kate is also co-founder of IPSA (Intimacy Practitioners South Africa who were key contributors to the Protocols for Working with Intimate Content – South Africa), The IPG (Intimacy Practitioners’ Guild EU/UK) and represented Intimacy Coordinators for the UK Union BECTU in 2020/21 in their Intimacy Coordinators Branch, contributing to their industry documents.

In addition, Kate is an award nominated actor, movement teacher and has a 1st Class Degree in Performing Arts from the University of Hertfordshire and an MA in Acting (physical theatre) from Manchester Metropolitan University having trained in Poland with Teatr Pieśń Kozła (Song of the Goat).

Contemplation & Question Jamboard Wall – Silent Debate

A way to engage with participants on many topics that can be collated at the end of the weekend. We would be happy to introduce and let some of the initial ideas inform the workshops, so we can speak to the ideas and questions present in the room.

Each day topics will be presented to be contemplated silently and discussed purely through your anonymous engagement. 

Please take up the mighty pen and add your thoughts, comments and questions to our topic of the moment, in silence only. Read through the responses and see contribute your ideas.

Keep an eye out for new topic additions as the weekend unfolds.

Don’t forget to revisit throughout the day to add your new thoughts, epiphanies, changed mind or additional knowledge as well as…more questions!

The conversation will inspire and kickstart by continuing aloud as we explore topics in our workshops, panels and one to one interactions.

Modesty Garments and Intimacy Coordination is a workshop for actors, directors, and designers to learn about the specifically designed garments for modesty coverage and sensation barriers and their application protocols and use for scenes of implied intimacy scenes and nudity.

  • 30 minutes and time for Q&A
  • For the public (actors, directors, designers)
  • The Why and the How of Modesty Garments and Barriers
  • Show a variety of modesty garment  and barrier styles (sail, hammock, pasties, tape)
  • Different tech from several companies (The Modesty Shop- CA, Intimask- EU, Covvier- US)
  • Overview of the application and use of modesty garments and how an IC may support wardrobe and discuss with the actor and director what garment would be needed for different coverage/filming angles.

Megan Gilron (she/they) is a certified Intimacy Coordinator and Director as well as comprehensive sexual health education and consent and boundaries facilitator. She works with Principal Intimacy Professionals and is a co-chair of the National Society of Intimacy Professionals based in Vancouver, BC. Canada. @megangilron

15 years ago a book with a fascinating name caught my eye: “Difficult Conversations”. Learning how to conduct them seemed like something that I felt could “rescue” so many moments in my everyday life. At that point in time, I was struggling to find words that expressed my thoughts, feelings and needs, and was eager to find a way to be more present in my communication with others, even when it touches sensitive and even explosive issues. My main fear was – if I will be authentic with myself and others it might cause damage to my professional and personal relationships and connections.

Searching for these tools eventually led me to study Nonviolent Communication (NVC) – a method that helps people to connect with themselves and others through observation, empathy and simple requests, while distinguishing between their feelings and needs to the communication tools language and strategies they use.

As years passed and I started working as an Intimacy Coordinator, it became clear to me – the essence of this profession is deeply connected to the NVC method: Observing and identifying varied, and often, contradictory needs – and helping to mediate between them, while creating an atmosphere that encourages trust and dialogue. Finding the words to manage highly charged situations and conversations. In this lecture I will share with you how the tools of the NVC method helped me deal with specific interpersonal situations as an IC and live to tell about them.

Erga Yaari:

an IPA certified Intimacy Coordinator. In 2020 she founded the Intimacy Coordination profession for the film, television and stage industry in her country – Israel, and since then is working to implement and develop the field there.
She is also experienced in directing and producing experimental video-art projects, dealing with gender and sexuality and has worked as an artistic designer in screen and stage productions. In addition to working in the film, Television and stage industry, Erga is a certified and experienced Non-Violent-Communication mentor and is currently studying the Hakomi therapy method.

Her pioneering activity to establish and promote the Intimacy profession in Israel, involves not only working as a hands-on intimacy coordinator, but also – lecturing on the topic, initiating and facilitating intimacy and emotional safety workshops for acting and film students – in academia and high schools.

This practical camera workshop introduces you to the technical aspects of framing simulated sex on camera. Using a movie scene as our base for exploration, we will take a closer look at how we can work safely with actors, and how we capture the illusion of intimacy on the monitor. This input is for students of film only. Please note: we will have 2 actors with us to technically demonstrate a simulated sexual position. There will be no nudity. No photos or filming allowed.

Dr. Julia Effertz

A passionate storyteller for stage and screen, Dr Julia Effertz is an actress, screenwriter, and intimacy coordinator. As Germany’s pioneer in the field of intimacy coordination, she introduced the position to German sets in 2019, and has since been coordinating a wide range of projects across film, television, and theatre. She regularly teaches young creatives at drama schools and film schools, and provides in-house training for production companies who wish to implement Best Practices when working with intimacy. Julia began her IC training with Intimacy on Set in London in 2019, and completed her training with the Intimacy Professionals Association in Los Angeles in 2021. She is a member of the European Intimacy Practitioners Guild (IPG) as well as the German Professional Association for Intimacy Coordination and Fight Choreography (BIK).

Those who work in storytelling industries will be familiar with associated occupational hazards, sometimes described with concepts such as “actor sensitivity,“ „character bleedthrough” and „emotional fatigue.“ This presentation aims to examine the types of secondary traumatisation which may occur as part of storytelling (particularly those relating to intimacy), who is more likely to experience them, and what strategies we can use to manage them. Contributions to this presentation are from intimacy coordinators around the world with Indigenous, Black, Arabic, Queer and Psychology based specialisations.

Michela Carattini
Is Company Director and Head Trainer at Key Intimate Scenes (KIS), Australia.
Endorsed by Black Pages and accredited by SAG-AFTRA, KIS’ credits include the hit series NINE PERFECT STRANGERS (Nicole Kidman, Regina Hall, Melissa McCarthy, Michael Shannon, Samara Weaving) and WHILE THE MEN ARE AWAY (Michela De Rossi, Gemma Ward), critically acclaimed films BLAZE (Simon Baker, Yael Stone) and BIRDEATER (Shabana Azeez), and celebrated productions from GRIFFIN THEATRE and THE ROYAL NEW ZEALAND BALLET.

Part of the team which drafted Australia’s National Intimacy Guidelines, Michela co-founded the Australasian Intimacy Coordination Network (AICN), and developed an Australia-specific, First Nations-centred training curriculum, currently the only SAG-AFTRA accredited intimacy coordinator training outside of North America and the UK.
Focussing on cultural competence and mental health, she received her BA in Psychology from Columbia University and her Masters in Criminology from Sydney University, working for just under a decade across three countries as a caseworker, counselor and researcher specialising in violence against the less powerful and culturally and linguistically diverse clients.
Her intimacy mentors, trainers and collaborators include Akala Newman, Adeeb Razzouk, Lori Leigh, Stephanie Power, Kaja Dunn, Rachel Flescher, Tonia Sinia, Alicia Rodis and Ita O’brien.
She is also a creative producer at Charcol Pictures, and draws heavily on her award-winning acting career which spans three decades.

For more, go to

This 1-hr workshop is for production and AD departments on how to budget and schedule for intimate scenes. You will learn about Intimacy Coordinator’s workflow and collaboration between the departments with this new crucial role on set. This workshop is led by Pia Rickman & Malin B. Erikson, the directors of Nordic Intimacy Coordinator (NIC).

Pia Rickman
is based in between Finland and UK, introduced intimacy coordination in Finland in 2019
as the country’s first intimacy coordinator. Pia’s prior on-set experience as an assistant director and
production manager, and her current position as a lecturer of acting, gives Pia a unique angle on
intimacy coordination both within education and the industry. Pia’s recent credits include Romantic
Getaway (SkyTV), The Diplomat (Netflix), Girl Picture (Citizen Jane Productions) and work at the
Finnish National Opera and Ballet.
Malin B. Erikson
based in Sweden, introduced intimacy coordination to Sweden in 2019 as the
country’s first intimacy coordinator. Today she actively works to implement and develop the role of
the intimacy coordinator, the standards & protocols together with unions and local arts
organisations in Sweden. Malin has recently worked on Snabba Cash (Netflix),
Blackwater (SVT), and Knutby (TV4 / C More), as well as on live performance within theatre and opera.
Together Pia and Malin have established and built the role of intimacy coordinator/ director in the
Nordic region and are the co-directors of the company Nordic Intimacy Coordinators, focusing on
intimacy education.
The Intimacy Practitioners’ Guild IPG is an organisation of intimacy professionals in the film,
television and performing arts industries in Europe. The IPG was established in 2020 by Vanessa
Coffey, Kate Lush, Malin B. Erikson and Pia Rickman with the aim to provide an exchange of
information and ideas, honouring the achievements of members and standardisation of consent-
based working practices within the industry.

Questions this lecture performance by Dancer / choreographer Kaya Kołodziejczyk and dancer/psychologist Aleksandra Lemba deals with, are:

1) What are the responsibilities of creating a safe, equitable and creatively productive

environment among the group you are working with ?
2) In what way dance practice can / may influence the work of an IC/ID?

3) Can the physical awareness, physical contact and proximity, and creativity and

expression emphasized in contact improvisation and contemporary dance techniques have a significant impact on
intimacy coordination – and are they helping to create safer and more respectful environments for performers to
explore and express their work better.
Kaya Kołodziejczyk (she/her)
is working in the fields of choreography, performance art and contemporary dance. She creates performances based on cross-art ideas, incorporating an experimental approach to the body and its materiality in relation to the newest developments in
electroacoustic music. She has created numerous choreographies including work for dance companies, film
productions, VR/AR experiences and theatre plays. As a movement director, intimacy professional and choreographer she worked for

Agnieszka Smoczyńska (The Silent Twins 2022, Fuga 2018, The Lure 2016), Marta Karwowska (Fanfik 2023 ), Marcin Wrona (Demon 2015), The Polish Theatre in Poznan, The Juliusz Slowacki Theatre in Krakow and The Jewish Theatre in Warsaw.

Kaya was dancing for Anna Teresa de Keersmaeker’s Company Rosas, David
Wampach, Mette Ingvartsen and has been collaborating with theatre director Maja
Kleczewska (Dziady, Hamlet, The Painted Bird, Wut).
Kaya guides lectures and collaborates with the IRCAM Paris, The National Academy of
Dramatic Art in Warsaw, HfMDK in Frankfurt am Main. She was also member of the European network APAP (Advancing Performing Arts Project).
In addition to her artistic activities, Kaya is involved in social projects for children and
young people. She supports NGOs which fight for social equality regardless of age,
race, origin, social status, health condition or gender identity.
She graduated from Die Hochschule für Musik und Darstellende Kunst Frankfurt am Main – Germany, P.A.R.T.S., Brussels – Belgium, and National Ballet School in Warsaw – Poland.
She lives and works in Poland and Belgium.

Aleksandra Lemba
Master of psychology, teacher of Gained experience on film sets psychosocial sciences. CURRENTLY

working as an actress, a stuntman EXPANDING HER KNOWLEDGE AT THE („The Silent Twins“) and as a
Dance Movement Psychotherapy choreographer’s assistant and school in Polish Institute of DMT
intimacy coordinator’s assistant. Accredited by the Association for Dance Movement Psychotherapy UK.

How does intimacy direction differ in musical theatre and what considerations to add? Join Yarit Dor for a short introduction to her work in musical theatre.

Yarit Dor

Is an IDC certified intimacy coordinator and intimacy director and co-director of Moving Body Art. She is amongst the first generation of intimacy directors & coordinators working in the United Kingdom, European Union and Israel.
In 2019 she earned the first intimacy director credit in London’s West End and since has worked for Rambert Dance Company and for top venues & companies such as the National Theatre, Punchdrunk, West End’s Hamilton, The Band’s Visit, The Glass Menagerie and upcoming West End musical Oklahoma.
Her intimacy coordination credits include: Glass Onion Knives Out, The Wheel of Time, Shadow & Bone, The Sandman, Becoming Elizabeth, Atlanta, Pistol, The Girlfriend Experience, The Spanish Princess amongst others.
Between 2020-2022 Yarit was the chair of Bectu Union’s Intimacy Coordinators Branch first committee and she is a long-standing writer & editor of several intimacy guidelines for screen and stage used by the United Kingdom industry.
She also co-founded INTIMASK, the first online shop for specialised modesty garments used worldwide by intimacy coordinators and costume departments. For more information: ,

What do intimacy and stunt have in common? How to best interlace both departments acknowledging differences in their work practice? How can extern specialists be safely integrated in the work process? And when are which professionals needed? After a short insight into the current state and ideas for best practices, there will be time for Q&A.

Cornelia Dworak
Is an Austrian stunt, movement and intimacy coordinator with years of experience, working in the industry since 2006. She has coordinated and consulted national as well as various international film and stage projects which included action and/or intimate content. Her expertise has led to innumerable workshop and class hours of teaching in the genres of stage and screen combat, dance, intimacy for film and movement for actors. Besides her professional trainings as stunt person, stage combat teacher, intimacy coordinator and dance pedagogue, she is also a trained bodywork practitioner.

Pia Rickman, IPG, NIC (Finland, UK), Malin B. Erikson, IPG (Sweden), Amanda Cutting, NSIP, PIP (Canada),

Yarit Dor, Moving Body Arts (UK, Europe, Israel), Kate Lush, Safe Sets (South Africa/UK).

Moderation: Florian Federl, BIK (Germany)

Rebecca Lashmar NSIP

with Magz Barrawasser, Netzwerk Regie (Germany), Michael Schäfer (BVR Germany), Maria Soledad Marciani, University Bologna (Italy), Katarzyna Waligóra, University Krakow (Poland), Gregor Runge, Theater Bremen (Germany), Young-Won Song, Unusual Symptoms (Germany), Moderation: Adele*Mike Dittrich Frydetzki, University of Arts Berlin (Germany)

Explore where and how intimacy professionals’ skills and considerations can support playwrights and
screenwriters when writing intimate scenes and more
By exploring the intersection between intimacy professionals and writers
of stage and screen, this workshop analyzes how scenes of intimacy are written, important considerations when writi
ng intimate scenes, and how scripts are often the only form of communication on sets and in rehearsal halls.
By working collaboratively, intimacy professionals and writers can redefine what the industry views as intimate while
crafting empowering, bold and creative work.
Rebecca Lashmar
Is a Master’s student at the Centre for Drama, Theatre and
Performance Studies at the University of Toronto. With a strong interest in consent-based
creative processes, multidisciplinary practices and actor/creative’s
wellness, Rebecca currently works as an intimacy director and coordinator as well as a
writer and actor.
Previously, Rebecca worked with Driftwood Theatre’s “Beyond the Bard” program,
where she wrote the digital short Fairchild and was awarded funding to write The
Routine in 2021.

We will break-down, from a socio-political perspective, the current debates taking place around the figure of the intimacy coordinator among the general public, the media and the film industry to try to understand the origin of the most common bias we face, especially those that relate us to a new wave of puritanism. We will try to argue why many of these ideas are in reality misconceptions whose origin is a misunderstanding of what intimacy coordination really is today. In doing so, we will dwell into the creative opportunities that our work offers for the creation of more diverse and inclusive perspectives on intimacy.

Tábata Cerezo
Tábata Cerezo is a Spanish actress and director with a background in casting direction. In 2021 she became one of the pioneers in Intimacy Coordination in Spain when was selected by Safe Sets to be part of Netflix’s Grow Creative program for IC’s. Together with Lucía Delgado she founded IntimAct, the first Spanish company of professionals that specialise in intimacy coordination
They have worked with award-winning Spanish directors such as Daniel Sánchez Arévalo or Carlota Pereda and have led the intimate scenes of more than twenty national and international productions such as Netflix’s “Élite” or the series “Tu También lo Harías” for Disney+. 
Lucía Delgado
Lucía is an Spanish actress and Intimacy Coordinator. She is pioneer in the field of Intimacy Coordination in Spain and has worked as lead intimacy Coordinator in 15 different productions. Together with Tábata Cerezo they form IntimAct, being Spain’s first certified Intimacy Coordinators. Productions the team has coordinated are the series “Élite” S6, for Netflix Spain; “Tú también lo harías”, by David Victori (Disney+ Spain); “Zorras”, based on the eponymous novel by Noemí Casquet and Elena Martín’s upcoming feature film “Creatura”.
IntimAct was fouded by Lucía Delgado and Tábata Cerezo are actresses and audiovisual professionals, certified in intimacy coordination by Safe Sets & Netflix
In 2021, both were selected to take part in an international certification in intimacy coordination promoted by Netflix’s „Grow creative“ programme and taught by the renowned South African intimacy coordination company Safe Sets. In October 2021, they decided to start the IntimAct project together, becoming pioneers in Spanish intimacy coordination and the first to be certified as such in Spain.
Since then, they have been responsible for coordinating intimate scenes in more than twenty national and international productions, such as the series „Las de la Última Fila“, „Élite“ (S6), „Smiley“, the yet to be released „Zorras“ based on the eponymous novel by Noemí Casquet, the next project by David Victori for Disney+, the upcoming film by Elena Martín, „Creatura“, and the British film „The Eye“, debut feature by Daphne Schmon.
In the last year it has become evident the value that the intimacy coordination is bringing to the productions that have trusted in their work in Spain, not only providing a framework of security to the artists involved and contributing a creative value in the design of these scenes, but also working towards a more realistic and inclusive representation of sexuality in fiction.
To get to Berlin city centre from Berlin-Brandenburg airport (BER):
=> the cheapest way is via train from the airport; from arrivals/baggage reclaim, follow the signs to the underground train station
=> Alternatively, you can take the Taxi, but because BER is a bit outside of Berlin, and the city of Berlin is very large, a cab will cost you roughly 50-70 Euros, depending on where your accommodation is in Berlin. Might be worth sharing a cab with several people if you arrive at the same time.
The nearest train station for our conference venue is called „Ostkreuz“ (Eastern Crossroads), which is the Eastern crossing point for several train lines in Berlin – and one of the stops for most trains coming in from BER airport.
For trains:
=> buy your train ticket at one of the ticket vending machines before going down to the train platforms OR: download the BVG ticket app onto your smartphone
=> IMPORTANT: the airport is in zone C (Brandenburg), to the South-East of Berlin. It is in a different federal state, Brandenburg. The city of Berlin is in zones A and B, so make sure to buy a ticket that covers zones ABC! A ticket for Berlin (AB) does not cover the airport.
A single trip ticket will cost about 3,80 Euros.
=> if you are staying for a few days, you have a few options:
1) a 24-hour ticket => (which really is 24 hours, not just for the day you’ve bought it). You can buy several ones depending on how many days you are staying
2) a 7-day ticket
3) Berin CityTourCard valid for 48 hours
4) There is also a nice Berlin WelcomeCard you can buy on the ticket app which includes free entry to all Museum island museums; it is valid for 72 hours.
You can buy all of these tickets either at the ticket vending machines or via the smartphone app, in which you have your digital ticket on your smartphone.
All tickets are valid for the underground, tram (streetcars), busses, and the S-Bahn (overground suburban trains).
If you have time and wish to explore, you can take the S-Bahn out to Potsdam (zone C again, so make sure you have the right ticket), which is a beautiful city and a former royal residence, with Sanssouci palace of the Prussian king Frederick the Great.
!!!! IMPORTANT !!!!
Berlin public transportation operates on a trust system. There are no turnstiles to access the underground, but plain-clothed ticket inspectors are regularly checking tickets on the train. You will not recognize them when they step on board, as they don’t wear uniforms. If you are caught without a valid ticket, they will fine you 60 Euros. They make no exception for tourists or people who don’t speak German or don’t understand the ticketing system. So always make sure you have a valid ticket with you.
Again, the easiest way to get your ticket is via the BVG app on your smartphone.

If you buy a paper ticket from the machine, make sure you stamp it in one of the yellow ticket validation machines right next to the ticket vending machine. The ticket must be validated and have that little stamp on it.

Safe travels!

Ticket information

Additional Infos:

The #ICIC2023 Timetable is published! We can simulate a lot of things, but unfortunately cannot bend time – so we had to organize panels happening simultaneously. 

If you already booked your ticket for the Conference: welcome! If you wanted to book a ticket, but your category is already sold, please contact us:

Online-Tickets: Sessions which are part of the Livestream are tagged at the Timetable. Please have in mind, that not all sessions will be streamed (e.g. Workshops, parallel sessions). If you want to attend the IC-Industry-Gathering on Sunday, too – please send us your CV or any other document of proof.
Those sessions streamed will be recorded and send to you after the Conference.

Live-Tickets Saturday: Welcome to #ICIC2023, and thank you for traveling to Berlin! We will have a list of participants at the entrance of the Venue. Just check in with our BIK-Team within 9:15 and 10am, and get your conference bag and tag. If you’ve booked your seat via our homepage, you are on this list, too – and don’t need an extra ticket.
If you check in later, it’s no problem – there will always be someone welcoming you at the entrance of „Alte Schmiede“ – Spittastraße 40 (near OSTKREUZ).

Workshops on Saturday: Since we have limited space, and have to make sure it is safe, we ask everyone who joins the Conference on Saturday to participate at 1 Workshop only (you can choose: Julia Effertz: Finding the Frame. Camera & IC. Students only! / Pia Rickman & Malin B. Erikson: „budgeting and Scheduling Intimacy“ – Workshop for Production and AD departments / Rebecca Lashmar: „Writing Intimacy“).
Please let us know, which Workshop you want to attend: either write us an e-mail or just put your name on the list, once you check in.
Please keep in mind that places are limited, so we cannot ensure you a seat at the workshops, and may have to ask you to attend another one.
Of course you don’t have to attend any Workshop at all. 

Live-Tickets Sunday: Since Sunday is a „Closed Set“ for professional ICs and IPs only, we have to kindly ask you to send us your CV, or additional info which proofs that you are working as an IC / IP. Wether you’ve bought a live-, or online-Ticket, please send us an e-mail:

Karma-Ticket: If you can’t afford a ticket, please send a mail to with a plausible request for funding via our „Karma-Ticket“.

Speakers: If you are a speaker at 2023’s conference – we welcome you, and are looking forward to meeting you in Berlin!
Speakers don’t have to pay, or book a ticket. Our team will contact you for all needed information.
For all people traveling with you: Please inform them to book their ticket asap. Official seats on site are sold out!

IMPORTANT: *** If you’ve booked a ticket without Catering, but want to upgrade your ticket, please inform us UNTIL WEDNESDAY, 15th of Feb 12am – you can pay the additional fee of 20€ cash or via Paypal on site  ***

Saturday public Ticket


Saturday public + Catering


Saturday online Ticket


Sunday Industry Ticket


Sunday online Industry Ticket


Saturday & Sunday Ticket + Brunch


Saturday & Sunday online Ticket


Saturday & Sunday Ticket + Catering