2022 SXSW FILM FESTIVAL REVIEW!
Dinner is ready to be cooked, and after days of preparation Franc (Marko Mandić) is hungry, ready for some steak. Steakhouse sees Liza (Maruša Majer) struggling to get dinner done in time, as her co-workers have thrown her a surprise party. Steakhouse is a testament to the human psyche and how even small inconveniences can snowball into something bigger. This is the story of life as we know it and all that it entails.
An animated film about a steak seems a little silly on the surface, but there’s so much more to this story than just a husband and wife eating a steak. As their story plays out it becomes clear that Steakhouse is an accurate representation of the real world and the role that emotion, and small hiccups throughout our day, play in our day-to-day lives. I, like billions of people around the world, sometimes struggle with their emotions. Whether it’s depression, confusion, or bouts of rage, people around the world often struggle to come to terms with their emotions, or even to understand why they act the way they do. Steakhouse feels like a legitimate representation of the emotional rollercoaster that exists in just about everyone in the real world, and writer Gregor Zorc does a wonderful job of creating scenarios in which viewers will not only see themselves, but be able to analyze themselves.
Beyond the emotional aspect of Steakhouse exists somewhat of a separate narrative that discusses how one small thing can alter the trajectory of something much larger. There’s an issue with the steak that arises in Steakhouse–and I won’t give any more than that away–but that small mishap reshapes the narrative, the characters, and the tone and mood of the film instantly. I see this each and every day at home, at work, and when I’m out in public–and seeing such a small setback change the course of everything in Steakhouse couldn’t have been represented more accurately. The combination of Zorc and director Špela Čadež creates something unique but instantly relatable that is sure to resonate with viewers everywhere.
Cinematography is a tricky business in animated films, because it’s not as simple as manipulating a camera or lighting, but rather manipulating a digital program to simulate a camera or the lighting. Čadež doubles (no, triples) as the cinematographer for Steakhouse, as she has a clear understanding of how to make these animations as realistic and natural as possible. I feel that without Čadež, even with as important and talented as everyone else is to Steakhouse, the film fails. She understands how to bring the important sentiments of humanity to life, and she does so with poise and great cinematic articulation.
The animation that makes Steakhouse come to life is unique, and I’m not entirely sure that I’ve seen anything quite like it before. Characters’ facial expressions, the attention to detail in the steak and its accompanying elements, and every single nuance present in Steakhouse is developed with precision, and everything comes to life vibrantly as a result.
Steakhouse is a wondrous short film about the realities of the world in which we live, and it touches on topics that often escape the masses–but remain relevant to everyone. It’s a uniquely touching venture of the human mind, and it’s sure to capture the attention of a wide-ranging audience. Viewers never really know what to expect from Steakhouse, but the payoff is grand, unusual, and simply incredible.
Directed by Špela Čadež.
Written by Gregor Zorc.
Starring Maruša, Majer, Marko Mandić, Matej Lavrenčič, Zarja Menart, Lovernc Škoda, & Gregor Zorc.
⭐⭐⭐⭐⭐⭐⭐⭐⭐/10
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