The Steak is a quietly powerful film about the harsh realities of war and the fragility of life amid chaos. Director Kiarash Dadgar discusses his debut film, which picked up Gold this year.
Can you tell us a bit about the inception of The Steak and why you wanted to make it?
War films have always been a favourite genre of mine, both in terms of filmmaking and as a viewer. I constantly search for stories and true events about war. One day, my co-writer, Ali Narimani, told me a story about the Iran-Iraq war(1980-1988). He mentioned a family living in the south of Iran. Suddenly, Iraqi soldiers attacked their city, and while the mother was cooking, she noticed the enemy soldiers in front of their house, walking in the streets. The family had to pack their things in a second and flee quickly.
This story sparked the idea for The Steak. I began imagining what happened to the food the mother was cooking, and found it intriguing to stay in the house and develop the story from that point.
This is your directorial debut; how daunting was the task of taking this project on?
I had never been behind the camera as a director before The Steak, but I had spent 10 years as an actor. This experience gave me a sense of the atmosphere and the risks involved in making a film, though it was all in my imagination.
When it came time to direct, I found it quite overwhelming. Besides directing, I was also the producer and co-writer, which added many responsibilities on set. Our resources and funds were very limited, which made the process even more challenging. However, I am incredibly grateful for the wonderful cast and crew who helped me manage the situation and bring The Steak to life.
How long did it take to make the film, how many takes did you have to do, and how did you finance it?
We typically did around 12 takes in one day of shooting. The idea for The Steak was developed over two years, though I wasn’t working on it every day. Pre-production and production took about two months to complete. The hardest part was finding the proper location. As it was my first film, finding investors was challenging. No one was interested in funding my project, and I was running out of time. I decided to sell most of my belongings and withdrew all my savings. Additionally, I convinced my father to invest one-third of the film’s budget, assuring him that I would repay him once we moved to Canada.
There’s no dialogue in The Steak; why did you make that particular decision?
I’ve always wanted to create a film that could be universally understood, using a global language that transcends linguistic barriers. My goal was to capture a human experience that everyone can feel, regardless of language. This desire led me to develop The Steak into a film that speaks to the universal human experience.
Additionally, I wanted to make a film that tells a story through images and the essence of cinema, rather than words. I hate reading subtitles when watching films, as I believe they diminish 50% of the emotion in the experience. By eliminating dialogue, I aimed to ensure that the visual storytelling and emotional impact remained pure and powerful.
The film is shot with a locked-off camera, which gives the film a voyeuristic feel; was that the intention?
Yes, it was intentional. I didn’t want to get closer to the characters or explore all the rooms, closets and outside of the house, searching for different angles of their lives. Instead, I aimed to create a sense of observation amidst the chaos, where the audience can only watch without the ability to interfere or prevent the disaster that is about to unfold. This approach was meant to enhance the feeling of helplessness and inevitability, making the viewers more connected to the unfolding events.
There’s no music, with all the sound coming from the on-screen action; again, what was the reason behind that decision?
I love to work on sound design, and when I think about ideas, I start by considering the sounds that would naturally occur around my subject. When writing The Steak I meticulously planned the sound design and effects that would occur throughout the film. My goal was to use visual and sound design to tell the story.
As this film reflects a real experience and story, I believe no music should be attached to it. In the most dramatic moments of our lives, there is no background music, no violins or cellos playing, not even a piano. This approach helps maintain the authenticity and rawness of the situation, making the experience more immersive for the audience.
You produced as well as directed the film; what was the biggest challenge over the course of this project?
The biggest challenge I faced was the inability to concentrate fully on all the directorial aspects of the film because I also had numerous responsibilities as the producer. This dual role meant I had to manage a lot of logistical and administrative tasks, which diverted my attention from the creative process. Fortunately, I had a great production manager and excellent director’s assistants who helped me navigate these challenges. Managing both roles can significantly hinder the creative process.
What do you hope people take away from watching The Steak?
Generally, I don’t believe that film and cinema should always convey moral messages or advise viewers on what is good and bad. However, if anyone watches The Steak, I hope they take away an understanding of how fragile our lives are and how easily they can be upended by the foolish decisions made by governments and politicians.
What does it mean to you to win a YDA and what can we expect to see from you in the future?
Winning the YDA Gold Screen Award is a great honour and an incredible achievement. Competing against the best films I’ve seen this year at prestigious festivals around the world was truly humbling. I didn’t expect to receive this award, and it has encouraged me to push further and create more.
I am currently working on several projects simultaneously. I am developing a thriller feature film under the mentorship of the Russo Brothers and their LA-based studio, AGBO. Additionally, I am working on my second short film, which focuses on an Iranian family living in Toronto and their struggles following the death of their grandmother.
Interview by Danny Edwards shots
