As part of this year’s Munich Film Festival, the award-winning German independent film “Love Steaks” by Jakob Lass (Darling Berlin) starring Lana Cooper and Franz Rogowski will be presented on the big screen again after a decade. This special screening will take place on Tuesday, 27 June at 6.30 pm in the cinema of the renowned Hochschule für Fernsehen und Film München (HFF).
“Love Steaks“, directed by Jakob Lass in 2013 and released in 2014, is the first film by the Darling Berlin label, which specialises in independent German films. It has been awarded many prizes internationally, including the Max Ophüls Prize 2014 for “best feature film“ . At the Munich Film Festival, “Love Steaks” had won all four sponsorship awards for the first time in history, namely “Best Screenplay“, “Best Production“, “Best Acting“ and “Best Director“.
Worldwide, the film attracted attention at the festivals Slamdance, Karlovy Vary, the International Film Festival in Rotterdam and the Montréal Film Festival, among others. Finally, the film “Love Steaks” was also nominated for the German Film Award 2014.
Director Jakob Lass tells his story in fast-changing images that draw the viewer into the lives of the characters in an almost hallucinatory way, and does not shy away from humour. “Love Steaks” is a fine example of how many films are made in the editing suite, as editing is the most inspiring time for many directors. When the material created in the making of the film is so rich and colourful that it inspires the editor to new heights, films of such density and evocative power are created that the audience forgets the cinema environment. “Love Steaks” is “not just a film, but a gift to the audience that simply floods with energy, enthusiasm, colours and love, and once again shows what cinema can achieve,” is how the Saarbrücken jury explained its decision.
Some comments from the press about “Love Steaks”:
“Love Steaks” is characterised by a beautiful schizophrenia of spontaneity and calculation that testifies far more to an idiosyncratic approach to filmmaking than many other German newcomer hits that also explore the lifestyles of twentysomethings and thirtysomethings. Just because the film doesn’t follow the hipster idea of stylising the zeitgeist, but draws its style from the zeitgeist.” (Süddeutsche Zeitung)
“The hidden but relentless triumph of” Love Steaks “, the wittiest German comedy of the season, is reminiscent of what happened two years ago with” Oh Boy “and last summer with” Kohlhass “: finally we have popular films again not out of a willingness to compromise, but out of an unwillingness to compromise.” (Frankfurter Rundschau)
“Love Steaks” opens the windows wide and lets reality in. And not this German pseudo-realism in films, somewhere between commercials and TV series, that is often so frustrating, but here and now downright overwhelming.” (Spiegel)
“Cinema as such cannot be more unpredictable and exciting!” (Cinema Magazine)
“Ingeniously improvised – this film hits you right between the eyes!” (TV Spielfilm Magazine)
“Love Steaks impressively shows that the Nouvelle Berlin Vague is definitely something to be reckoned with in the future.” (Zitty Magazine, Berlin)
“He and his team call it Fogma – the self-given rules that forbid artificial elements like studio shots, but give room for spontaneity to let the” flow “emerge. Which works perfectly here. Watching Lara and Clemens attract and repel each other is funny, touching and moving at the same time, it encompasses an explosive power rarely found in films.” (AZ, Munich)