Paradiso as a Set: How Sustainable Are Netflix Shoots on Mallorca?

Paradiso as a Set: How Sustainable Are Netflix Shoots on Mallorca?

Summer on Mallorca: the chirring of cicadas mixes with the rattling of generators, a café cortado disappears faster than the shooting schedule is changed. Sherry Hormann's Netflix thriller Fall for Me once again brought the island to life as a film backdrop this summer. Valldemossa, narrow streets in Palma, even the venerable Palau de l'Almudaina were turned into stages for a story that originated in Germany. Beautiful images, yes — but the central question remains: how sustainable are such large productions for the island?

Where the camera goes — and what it brings with it

The sight was not without irony: neon tubes and club furniture were set up in the historic halls of the Palau, where visitors usually stroll and historians whisper. On the cliffs and wind‑lashed beaches the crew battled vertigo and the moods of the sea. Many technicians came from the mainland, yet the hands that carried cables and mounted the lights were often Mallorcan. That is a strength: local expertise, knowledge of the paths, the neighbors and the Tramuntana light — the particular evening light that is hard to replicate elsewhere.

What is often missing in public debate

Everyone quickly talks about the highlights. Less noticed, however, are several side effects: permits for protected or historic spaces are rarely merely bureaucratic hurdles; they are protection mechanisms for substance and neighborhood. Carrying heavy equipment over paths, attaching fixtures to old walls or using a Palau hall as a club set leave traces, even when everything is done according to the rules. Noise in residential areas, nighttime deliveries, cordoned‑off squares — these are nuisances for people who live here, not just background noises in the end credits.

Economy versus everyday life: who really benefits?

Of course a shoot brings money: hotels, restaurants, local technicians and sometimes local trades benefit. But the distribution is unequal. Often specialist studios, expensive rental cars and catering chains come from outside, while small bar owners or residents only experience restrictions. It is worth asking: do sustainable effects remain? Are local crews fairly paid and given further training? Or was it a short flicker of activity after which the island returned to its usual rhythm?

Concrete challenges on site

A few first‑hand observations: noise‑sensitive neighborhoods in Palma, narrow passages in Valldemossa, rough terrain on the cliffs — and the capricious sea that repeatedly caused takes to be canceled. Added to this are permitting issues for historic sites, which often carry very specific conditions. Not to be forgotten: waste management, parking pressure and the traffic of vehicles with studio equipment through small villages. All of this is solvable, but it requires planning and clear rules.

How Mallorca could seize the opportunity

If we do not want to treat these shoots only as visitors, concrete measures are needed. Brief proposals:

1) Film liaison office: A central point of contact on the island that coordinates permits, formulates conditions and acts as a mediator between production, municipalities and heritage authorities.

2) Binding sustainability requirements: Environmental and heritage protection standards, noise curfews, restrictions on heavy fixings in historic spaces, and rules on the share of local personnel.

3) Local training programs: Investment in training for technical, production and stunt roles — so more value is retained on the island.

4) Compensation and community fund: A share of production budgets flows into community projects or restoration funds for used historic sites.

5) Transparency and communication: Early information campaigns for residents — who builds what when, when are closures planned, how long will the work last? Respect begins with information.

Conclusion: More than just pretty pictures

“Fall for Me” has shown that Mallorca can be an unusual, dense film setting — not just the postcard motifs, but the narrow streets, the Palau halls, the edgy coastal light. We should not simply ignore these possibilities. Those who want the island as a filming location must also take responsibility. With clear rules, fair contracts and a focus on long‑term benefits, cinematic gloss can bring real local gains — not just pretty images for streaming.

In the end one image remains: the sun over Valldemossa, the sound of the sea, the echo of directions on set and the hope that the people who live here will also share in that shine — not only for one summer, but for many years.