Seeing Double: Bong Joon Ho’s Mickey 17 takes Berlin

Bong Joon Ho and his cast at the Mickey 17 Berlin premiere. — Photographer… Alexander Janetzko/​Berlinale 2025
Bong Joon Ho and his cast at the Mickey 17 Berlin premiere. Photographer… Alexander Janetzko/​Berlinale 2025

As Bong Joon Ho returns with his first feature since Parasite, Rafa Sales Ross surveys the anticipation at Mickey 17’s festival premiere and dives into the initial reactions from Letterboxd reviews.

Thermometers indicated a whopping -9 degrees Celsius by the time eager fans began to line up outside the hotel that houses the Berlinale press conferences. The ice-white skin of vampire Edward Cullen on creased posters beautifully mirrored the thin layer of snow that covered the bobble hats and scarves of already shrieking festival-goers—and that was six hours before RPattz was scheduled to arrive.

The commotion was a byproduct of this year’s big Saturday night gala at the Berlin Film Festival, Bong Joon Ho’s much-awaited adaptation of Edward Ashton’s sci-fi novel Mickey 17. The project was first announced early in 2022, two years after Parasite made history as the first-ever non-English-language film to win Best Picture at the Oscars. Soon after, Robert Pattinson was cast as unlikely hero Mickey Barnes, an ordinary man who takes on the extraordinary job of dying for a living. Shooting took place later that year, with a release date set for March 29, 2024. Rumors swirled of a Cannes premiere, then a Venice premiere, then a Toronto premiere as the release date got pushed back time and time again, feeding the beast of public curiosity.

In January 2025, three years after the director first announced the project, the festival debut for Mickey 17 was at last set for the Berlin Film Festival. The glitzy gala took place the day after the film’s much-anticipated world premiere in a standalone event in London and saw brave hoards of fans lining the ice-covered streets of Berlin to take a peek at the picture’s star-filled cast including Pattinson, Naomi Ackie, Steven Yeun and Toni Collette.

When Pattinson stepped out of his car onto the red carpet, the screams could be heard from the neighboring cinemas, with lines of cinephiles trying to catch a glimpse of the star. The wait in the cold proved fruitful to those who arrived early as the English actor took his time taking pictures and g autographs by the carpet barricades—an ocean of Edward Cullen posters melting into Batman memorabilia, as teenage girls stood elbow to elbow with die-hard DC Comics fans.

Although featuring considerably less shouting, anticipation was just as buzzy in the morning at the film’s sold-out press screening. Curious journalists wove theories about the picture’s delay, while younger cinemagoers theorized about how Director Bong would bring to life the small, intricate details of the book: how would the filmmaker approach the concept of human printing? What would his outer space life look like? As conversations echoed through the corridors, an anxious-looking usher began running through the many rows of audience screaming, first in German, then in English, that there was a strict embargo in place: nothing could be said about the film before 7 PM, five hours after the credits rolled.

What would people have to say about the mechanics of the human printer that spits out countless versions of Robert Pattinson, or the diabolic machinations of Mark Ruffalo’s evil politician Kenneth Marshall and his equally evil wife, Ylfa? As soon as the gates were opened, reviews began to flood onto Letterboxd: Shookone calls the riotous sci-fi “goofy as fuck, just like our times.” Others were also quick to point out how Director Bong’s dystopia plays into our very present, very real times, with Ruffalo’s antagonist bearing the current US president’s orange-tinged skin, statement toupee, and affected accent—and that’s just to mention the physical resemblance.

“Can’t help but wonder how many hours Mark Ruffalo spent watching Trump compilation YouTube videos to achieve this imitation,” asks Kyunia, while EinBen says the only “unrealistic” thing about this futuristic world “is that Marshall didn’t get elected as a president on Earth in the first place.”

At the film’s press conference, Director Bong and the cast—Pattinson, Yeun, Ackie, Collette, and Happening’s Anamaria Vartolomei—spoke about the creative decisions behind their work, from Pattinson revealing that his accent was inspired by Steve Buscemi in Fargo (who Director Bong used as visual inspiration for the creature in The Host) to Collette saying that this was the first role she ever took on before reading the script. Of the Trump-slash-Kenneth-Marshall comparisons, Director Bong says Ruffalo’s character “embodies the dictators of the past” adding, “Because history always repeats itself, it might seem like I’m referring to someone in the present—even if I make something thinking of an event in the past, it seems to cover current events as well.”

have tried to anchor Director Bong’s latest to wider cultural references, as well, with Adam saying that it “kinda rules that after reshaping the Oscars history and a six-year pause Bong Joon Ho essentially released a fucked up feature-length Futurama episode,” and Mr_Bamason congratulating the director for “making the closest thing we’ll ever get to Robert Pattinson playing both Beavis and Butthead.”

Mickey, meet Mickey.
Mickey, meet Mickey.

Although there are plenty of comparisons to peerless sci-fi hits such as Star Wars and Arrival, a quick glance at Letterboxd reviews shows the most popular point of reference is Luca Guadagnino’s Challengers, thanks to the Mickey’s unexpected throuple of Ackie’s Nasha and two Mickeys. “The message of the movie clearly is that the world needs more than one Robert Pattinson and I think that’s beautiful,” says Katharina, with Maja adding, “I would also risk imprisonment for a threesome with two Robert Pattinsons.” The answer to many of the world’s greatest problems, according to our horn—oops, enthusiastic—, is to have a machine that can just multiply beautiful English actors at the earliest convenience, with Sophia asking a vital question: “Can we print some more Mickeys for all the single girlies?”

Despite the excitement at the idea of more than one Pattinson roaming the world at a time, the reactions at the festival hubs were a bit more muted than the furor of Parasite in Cannes almost six years ago. Jonas sums it up as “more like Mickey 6/10.” Yet audiences remain in general agreement that, even if imperfect, Mickey 17 is a hell of a good time at the movies: fun, zany, earnest. As Julie aptly points out, it is “pretty rare these days to see a major studio movie as inspired as go-for-broke as this.” I, for one, am thrilled Director Bong’s cut—unadulterated, irrevocably Director Bong’s—is finally out in the world.


Mickey 17’ releases in theaters worldwide on March 7 courtesy of Warner Bros.

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