On the coastline of Windholm one morning 15 years ago the ocean just disappeared. Since then the emptiness has been raising questions and anxiety. The cause of the phenomenon remains unclear. With a new theory at hand the physicist Micha (28) is one of many young scientists who is trying to get his hands on to one of his university’s rare scholarships to explore the phenomena. After the many years of work he has put into the project he must once again see how a bold idea ends at the doors of the antiquated establishment – he receives a rejection.

At the same time Jana (31), daughter of the institute’s boss and Micha’s former colleague on the project, resurfaces at the university. This doesn’t make the situation any easier for Micha. A year ago she left him and the project and ran off to Portugal. Jana has now returned to put a definite end to her scientific career – but there is something else: Jana has to clarify something with Micha. When Micha decides to take the trip to Windholm to prove his hypothesis despite the rejection and without official permission she joins him.

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In Windholm the young scientists are confronted with the remains of a village community that has never been able to overcome their trauma. On the day the ocean disappeared – so did all the children from the village. But have the kids really drowned that day? Their bodies were never found. Micha clings to rational thinking and only the scientific phenomenon is of his concern. But as his measurements take longer than planned the village pulls him deeper and deeper into its spell. Micha meets Hanna (19) the only remaining child. She tries to rebuild the neglected public pool, guides tourists through the village and is convinced that the kids are still out there somewhere. Jana strikes the thought that it is no coincidence that Micha and her have been lead to this place.

Abandoned houses and playgrounds, a small footprint on the empty ground of the ocean, the room of a boy who dreamt of becoming an astronaut – this is where Micha and Jana have to come to terms with their own past and a loss.

Directed by Sebastian Hilger, written by Nadine Gottmann, starring Max Mauff (“Victoria”), Lana Cooper (“Love Steaks”, “Beat Beat Heart”) and Swantje Kohlhof.

Katha is sure: she wants to marry Jana and she wants to have a baby with her. But Katha’s childhood friend Charly has a special surprise for her: A bachelorette’s night out with the „guys“. A weekend. The five of them. On a raft. There is Ken, her „new“ best friend, her little brother Tobi and, alas, Momo, the future sperm donor: this is bound to end badly. Floating! (German: Das Floß!) – an improvised tragicomedy on water.

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The director of the movie, Julia C. Kaiser said: “It takes courage even to declare one’s intention of a lifelong commitment to a person, whether it is a child or a partner or both. That is what our improvised tragicomedy is about. Katha has to learn to think outside the box and it is her rather conservative friend Charly of all people who represents the story’s queer spirit.“ The film is about the freedom of thought which is why it was supposed to be made with as much creative freedom as possible. “Das Floß!” (english: Floating”) is a film in which the authenticity of improvisation is just as important as narrative density. Our screenplay was a promise with the permission to be broken. The most important thing to us was staying empathetic, flexible, unusual. At the end of the journey the spectator might get the slight impression that it does not actually matter all that much if we choose to seek our happiness in a conventional or alternative way. And that impression is exactly what we want to achieve. Because we all seem equally tragicomical in our strive for happiness…”

“Das Floß!” – in cinemas in Germany from 7th January 2016.

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“Love Steaks” starts in cinemas over Germany

Director Jakob Lass tells his story in rapidly changing images that drag the viewer in the characters’ life in an almost hallucinatory way, and he doesn’t shy away from humor, too. „Love Steaks“ is a nice example for the fact that many movies are created at the editing suite, as the editing work is the most inspiring time for many directors. If the material that was created in the making of the film is so rich and colorful that it inspires the editor to new highs, movies are created, of such density and suggestive force that the audience forgets the cinema surrounding. „Love Steaks“ is “not only a movie but a gift to the audience which is simply brimming over with energy, enthusiasm, colors and love, and shows once again what cinema is able to achieve”, the Saarbrücken jury explains its decision.„Love Steaks“ has won all four advancement awards at the Filmfest Munich for the first time in history, namely “Best Movie”, “Best Production”, “Best Theatrical Performance” and “Best Script”, it was awarded the Max-Ophüls-Preis at the Saarbrücken Film Festival in 2014 and it caused a sensation at several film festivals around the world (Slamdance, Karlovy Vary, Montréal et al.).

For the label Darling Berlin and as the distributor, daredo is more than happy for the team winning all this prizes! Finally, „Love Steaks“ is listed in the pre-selection for the German Filmpreis 2014, the six final nominees being announced tomorrow, Friday the 28th of March.

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Some comments from the press about „Love Steaks“:“Love Steaks“ is characterized by a nice schizophrenia of spontaneity and calculation, that testifies much more of a maverick approach to making movies than many other German newcomer hits have, that are also dealing with exploring the lifeworlds of Twenty- and Thirtysomethings. Just because the movie doesn’t follow the Hipster idea of stylizing the Zeitgeist but rather is dragging its style out of the Zeitgeist.” (Süddeutsche Zeitung)“The hidden but relentless triumphal march of “Love Steaks“, the wittiest German comedy of the season, reminds of what happened to „Oh Boy“ two years ago, and to „Kohlhass“ last summer: finally, we have again popular movies that were not made from the willingness to compromise but from uncompromisingness.” (Franfurter Rundschau)“Love Steaks“ opens the windows wide and admits reality to come in. And not this German pseudo-realism in movies, somewhere in between commercials and TV series, that is often so frustrating, but a virtually overwhelming here and now.” (Spiegel)“Cinema as such cannot be more unpredictable and exciting!” (Cinema Magazine)“Ingeniously improvised – this movie hits you right between the eyes!” (TV Spielfilm Magazine)“„Love Steaks“ impressively shows that the Nouvelle Berlin Vague is definitely something to reckon with in the future.” (Zitty Magazine, Berlin)“He and his team call it Fogma – the self-given rules that forbid artificial elements such as studio shoots but give room to spontaneity in order to let the ‘flow’ emerge. Which works perfectly here. To see how Lara and Clemens attract and repel each other is comical, touching and moving at the same time, it comprises an explosive force rarely to be found in movies.” (AZ, Munich)

More information: Love Steaks; Cinemas: www.kino-zeit.de