WE ATTENDED THE LIVE IN MEXICO CITY PREMIERE IN VIENNA - REVIEW + PHOTOS!

Rammstein - Live in Mexico City: Review of the Long-Awaited Concert Film
Written by Denis Nikolić, Author and Editor of rammsteincroatia.com

RAMMSTEIN - LIVE IN MEXICO CITY PHOTO GALLERY | CINEMA PREMIERE IN VIENNA, 4 NOVEMBER 2026

VIDEO: Rammstein Croatia - Live in Mexico City Cinema Premiere

My rating: 4/5

I have to admit that the whole story surrounding the cinema premiere of Rammstein - Live in Mexico City began with quite a bit of disappointment for me. Croatia is a country with a large number of Rammstein fans, and over the past two months, many people have reached out to me with the same question: would the film also be screened in Croatian cinemas?

Over the past two months, I sent numerous inquiries to Croatian cinemas and the band's management regarding the possibility of screening the film in Croatia. The management explained that Rammstein would like to see the film screened in as many cities and countries around the world as possible, but that the final decision regarding distribution was not within their control and ultimately depended on the distributor. Based on the inquiries received, the request for a screening in Croatia was forwarded to the distributor.

Considering the level of interest we had the opportunity to witness even shortly before the premiere, when more than 300 visitors gathered at our Mega Rammstein Nacht event at SAX in Zagreb, I had little doubt that at least cinemas in Zagreb, for example, could expect a respectable audience turnout. Nevertheless, all of this still failed to result in a cinema screening in Croatia.

That is precisely why the decision not to screen the film in Croatia did not sit particularly well with me. Travelling to Vienna, which ultimately meant almost ten hours on the road in a single day, just to see a concert film, is not something anyone would take lightly. However, when it comes to Rammstein and a release that has been eagerly anticipated for so long, the decision ultimately turned out to be quite an easy one.

The Significance of Live in Mexico City

Rammstein - Live in Mexico City represents a kind of documentary record of an exceptionally important period in the band's history - the major stadium tours held between 2019 and 2024. A period during which Rammstein reached a new level of live production and demonstrated night after night, in front of tens of thousands of people, why they belong at the very top of the global live music scene.

The location where the concert was filmed adds particular significance to this release. Mexico has been regarded as one of the most special places for Rammstein fans ever since 1999. Mexican fans are known for their incredible energy, passion and dedication to the band. The members of Rammstein themselves have also repeatedly pointed out that the atmosphere at their concerts in Mexico is something special, something difficult to compare with other parts of the world.

It is particularly fascinating to see thousands of people singing the band's songs in unison, in German, often so loudly that it seems as though they are even drowning out the stage itself. This unique connection between Rammstein and their Mexican audience is precisely one of the reasons why this concert had the potential to become an outstanding concert film.

Another reason for the high expectations was the name of the director behind the film. Paul Dugdale is an internationally acclaimed director of concert films and music documentaries who has worked with numerous world-renowned artists throughout his career. His work has also received recognition at the Emmy Awards, further raising expectations for this project.

Taking all of this into account - the band's special connection with the Mexican audience, the energy of the stadium concerts, the period documented in the film and a director with such experience and professional reputation - my expectations were truly high.

For the cinema screening, I chose Hollywood Megaplex Gasometer in Vienna, primarily because it had the earliest screening time and was conveniently located right next to the bus station, which was quite practical considering that I was making the trip in a single day. The screening was scheduled for 7 PM, and the anticipation grew as the starting time approached. Naturally, no cinema visit would be complete without popcorn.

Speaking of which, I also have to mention one small missed opportunity. Although Rammstein offers various merchandise items related to the Live in Mexico City release in their official store, it would have been really interesting to see specially designed aluminium popcorn containers and other collectible cinema packaging. Such items are already available in cinemas for certain music films, for example those featuring Linkin Park and Ghost, so I believe Rammstein would have had an excellent opportunity to offer something similar to their fans.

However, one thing particularly unpleasantly surprised me as soon as I entered the cinema auditorium. Over the past few days, while following posts from different parts of the world, I noticed that AI-generated posters and visuals were being used to promote the film. I consider this approach completely unacceptable for a release of such significance and for a band like Rammstein.

Various AI-generated versions were used as promotional materials, apparently without even paying attention to the original design and distinctive lines of the Rammstein logo. Even more disappointing was the fact that such a visual was also displayed on the big cinema screen. As I entered the auditorium, I was greeted by what was essentially an AI-generated introduction to Mexico and the film, which, rather than enhancing the experience, left a rather unprofessional impression.

I believe that a concert film of this calibre deserved higher-quality, authentic and creatively designed promotional material, regardless of where it was being screened.

Following the film trailers, approximately ten to fifteen minutes later, the film finally began. The opening sequence features aerial drone footage of Mexico City, showing the city and a gradual approach along the streets surrounding the Foro Sol complex, the well-known venue where Rammstein performed their unforgettable concerts. In the background, we hear George Frideric Handel's Music for the Royal Fireworks, a piece that has been a familiar introduction to Rammstein's live performances for many years. As the music gradually builds the atmosphere, the names of the band members appear on screen, one after another.

I have to admit that I expected considerably more from the film's opening. Considering everything mentioned earlier - the significance of Mexico to Rammstein, the band's special connection with the local audience, the scale of the stadium tour and the fact that this is a long-awaited concert release - I was expecting a much more bombastic and explosive introduction. Something that would make it immediately clear, from the very first seconds, that we were watching a document of a truly special period in the band's history.

Instead, after these brief and rather unimpressive opening shots, the camera moves towards the stage. Christoph Schneider appears, performs his familiar explosion from that era, and Armee der Tristen begins.

Cinema Release Setlist

1. Intro
2. Armee der Tristen
3. Links 2-3-4
4. Zeig dich
5. Mein Herz brennt
6. Puppe
7. Zeit
8. DJ Set Deutschland
9. Deutschland
10. Radio
11. Mein Teil
12. Du hast
13. Sonne
14. Engel
15. Ausländer
16. Pussy
17. Rammstein
18. Ich will
19. Adieu
20. Credits
21. Te quiero puta!

Setlist and Omitted Songs

I thoroughly enjoyed the film itself and, despite a few shortcomings, I am glad that I finally had the opportunity to experience this release on the big screen. I will not go into a detailed analysis of every individual song here, but there are certainly a few tracks omitted from the cinema version that deserve some attention.

The songs in question are Zick Zack, Sehnsucht, Heirate mich and Du riechst so gut. Each of them has its own place in the live set, and their absence is certainly noticeable.

Personally, I did not particularly miss Zick Zack. I understand why it was included in the concert setlist, as the tour was marked by the promotion of the Zeit album, with Zick Zack serving as its second single, released in April 2022.

Its presence on the tour was therefore entirely expected.

On the other hand, I really missed Sehnsucht. Not only because the song itself is undoubtedly one of the band's classics, but also because of its distinctive stage performance and explosive effects. It is one of those songs that carries particular weight on a stadium stage, and its absence is not easy to overlook.

As for Heirate mich, its omission did not bother me quite as much as the way it affected the continuity of the film itself. In the original performance, Till hits his head against the microphone stand before the song, which was part of the band's recognisable stage act during that period. This moment was removed from the cinema version, and during the following song, Zeit, we suddenly see Till with blood on his head. Without the preceding context, viewers unfamiliar with the original concert are left rather confused as to how this happened in the first place.

I also regret the omission of Du riechst so gut, primarily because of its status in the band's discography and the fact that it is one of the classics that defined their earlier years.

Ultimately, I understand that certain cuts had to be made to the cinema version to adjust the overall running time. However, I am not entirely convinced that these were the best songs to leave out.

The Film's Strengths and Weaknesses

When it comes to the positive aspects, I particularly liked the colours and the way Paul Dugdale managed to capture the band's mood throughout these concerts. Rammstein was clearly in excellent form and in great spirits during this period, and I think the director succeeded in capturing that. I also appreciate the amount of attention given to the audience. Their emotions, reactions and energy blend nicely with what is happening on stage, creating a sense of unity between the band and the thousands of people in the stadium. These are precisely the kinds of shots that matter in a concert film, as they capture not only the performance itself but also the atmosphere that makes it special.

I am also satisfied with the sound. Overall, I really like how everything sounds, although in certain moments it is quite obvious that some audience audio has been added in post-production, with crowd voices and reactions either amplified or inserted into particular sections. This is not something that ruined my experience, but it is noticeable. Despite everything, the film seemed to fly by, and I genuinely enjoyed watching it.

On the other hand, there were a few directorial choices that I liked less. Once again, we have the quick cuts, which could have been slower at certain moments. I do not consider this a major issue, certainly not on the level we experienced in Rammstein: Paris, directed by Jonas Åkerlund. However, I think Dugdale could have given us a little more time to enjoy certain shots. At times, it feels as though the camera cuts away at precisely the moment when we would like to keep watching just a little longer.

Till is, as expected, very much present as the frontman, but I do get the impression that he receives noticeably more screen time than the other members of the band. I would have liked to see a little more of the remaining five members as well, because Rammstein is not just Till on stage, but six distinct personalities who come together to create that unmistakable live performance.

I also have to mention the shaky camera effects, which appear almost every time a powerful guitar riff kicks in. The camera starts shaking, and I was not particularly fond of this technique. Still, we should bear in mind that some fans, myself included, have yet to fully recover from Åkerlund's directorial choices in Rammstein: Paris. After being thrilled by the Armee der Tristen concert release, the appearance of Sonne a few weeks ago left some of us shaking our heads once again when we saw this shaky camera effect making a comeback. Fortunately, it is not nearly as pronounced here as it was in Paris, but I would have preferred Dugdale to use it much more sparingly.

Among the individual details, I would certainly single out Puppe, my favourite song. The performance itself is excellent, but I regret that the introduction was cut so short. It is a beautiful and theatrical part of the show which, in my opinion, could easily have remained in the film. The same applies to the DJ set during Deutschland, which was also considerably shortened. On the other hand, Radio is presented in black and white, which I can understand given the aesthetic of its music video. However, I am not entirely sure why the same visual approach was also applied to Ausländer.

At the end of Ausländer, we also get the familiar moment between Richard Kruspe and Paul Landers. After their first kiss on the lips, they share a tight embrace, followed by a second kiss. It is a charming moment that will undoubtedly delight fans familiar with their relationship and this particular bit of onstage playfulness.

One of the most memorable moments in the film for me is the performance of Engel, accompanied by the French piano duo Duo Jatekok. The entire performance felt particularly emotional, and it was made even more special by what happened afterwards, when the band members climbed into the boats. On stage, Paul took the sign reading "Willkommen" from Flake, while the other side of the board displayed "In der Dunkelheit" (a reference to Wiener Blut).

I would also highlight the scene during Mein Teil, in which Till threatens the Paul Landers doll, portraying his character Dr. Simi, with a knife, as if he were about to slit its throat. At the last moment, however, he changes his mind, takes pity on it and ends up giving it a sweet kiss. Among the other amusing shots, I would also single out the little girl who calmly watches something on her tablet in the middle of the stadium's wildest moments. The contrast between her fascination with the screen and the madness unfolding all around her is genuinely entertaining.

I particularly enjoyed the closing credits as well. They are accompanied by the Lügen outro, which has been played after concerts since 2023, while the credits feature close-up shots of numerous Mexican fans. They pose for the camera, smile and, in their own way, become part of the film's finale. Among them are also some familiar faces that we have seen on the covers of singles released in recent weeks as part of the promotion for this release. I particularly like this part of the film because it once again puts the spotlight on the audience and its importance to the whole experience.

And then, after the credits have finished, we get Te quiero puta! and complete chaos. The audience in the cinema remained seated throughout the entire closing sequence, so they were also able to enjoy this final part of the film. Flake played the trumpet, a Mexican flag waved on stage, the crowd cheered and waved their hands, and Till eventually offered a very heartfelt thank-you to everyone in attendance. That is precisely how the film ends - with plenty of energy, emotion and one final reminder of the special bond between Rammstein and their Mexican audience.

Final Thoughts and First Impressions of the Film

These are, of course, just my first impressions following the cinema screening. I will certainly watch the film many more times and revisit some of its individual moments.

I think Paul Dugdale has, overall, done a good job. Nevertheless, considering the significance of this release, the period it documents, the special location and everything I have mentioned above, I expected the final result to be a little more complete. It could have been better, but I do not want my criticisms to overshadow the fact that I genuinely enjoyed the film.

In the end, Live in Mexico City is also a beautiful and emotional reminder of the forty Rammstein concerts I attended during those five years. Some of my most cherished memories are connected to that period and that tour, and this film took me right back to those moments. That is another reason why I am particularly glad that I finally had the opportunity to see it on the big screen.