Another darkly mysterious Continent becomes an inhospitable dead zone in „The Dead 2 – India“. The highly anticipated follow-up to the award-winning Ford Brothers’ critically acclaimed zombie road movie “The Dead” sees the cult franchise move to the hustle and bustle of India as the devastating outbreak takes hold. Set against the spectacular vistas and stunning scenery of Rajasthan, known as The Land of the Kings and one of the world’s first and oldest civilizations, „The Dead 2 – India“ puts the Ford Brothers unique apocalyptic vision on a far bigger canvas in terms of breathtaking scope, thrilling action , death-defying stunts, emotional resonance and spine-tingling fight. „The Dead 2 – India“ is bigger, better and more exciting than the first, raves HorrorCultFilms. Thrilling, frightening and incredibly violent. Powerful stuff!
Denny is living the high life in Berlin and is having sex with a lot of girls. Denny got a mother. This mother just got a new husband: Frank. Denny hasn’t talked to his mother in 10 years. Frank wants to change this. He takes a train to Berlin. Who’s gonna be the first to mature?
Tom Lass, the director of the movie, began his acting career at the age of 15 in Munich. Since then he has participated in more than 40 film and TV projects. In 2005 he began to start looking behind the scenes by working as a production assistant. He made his first experiences with the concept of improvising in film as an actor with the short feature film „Quiet Spring“ that was released in 2007. Tom finished his first short film „0+0=1“ as a director in 2008 and founded a production company together with his brother Jakob Lass, “Lass Bros”. He became more and more convinced by improvisation – making films without script – that he tried it himself in his first feature film „Papa Gold“, that won the film critic’s prize at the Achtung Berlin film festival in 2011. Tom works and lives in Berlin.
They are called Dr. Motte and Wladimir Kaminer but also Schraubermicha or Ginger Brown. They and many others are visitors to the Mauerpark. The film from director Dennis Karsten tells the stories of people from the East Berlin city park between Prenzlauer Berg and Wedding. Today, the park offers above all space for artistic creativity and is an intercultural meeting place for people from all walks of society, for individualists, artists, sportsmen and women, musicians and brings them together. The uniqueness of the park lies in the peaceful coexistence of alternative life styles, fringe groups and subcultures. However, the park also stands for the change taking place in the district, which is under pressure from gentrification. Building plans from a property developer are threatening the area, but it is still holding its own with its diverse structures. The film submerges into the depths of the Mauerpark microcosm and observes the different dimensions of the park. It not only portrays the various visitors, but also the park’s diversity by showing its closeness to nature and the activities of insects and birds there. “Mauerpark” captures the summer of 2009 in Berlin, showing the uniqueness and variety of the park’s cosmos and the prevalent feeling of freedom there. It is a poetic and sometimes funny portrait of the magic of the park and the people there.
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“ was also nominated for the German Filmpreis 2014.
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)