Kohlhaas oder die Verhältnismäßigkeit der Mittel

Deep in the Bavarian countryside, the historical drama “Kohlhaas” is being filmed, loosely based on the novella by Heinrich von Kleist. But on the very first day of shooting, the financing falls through. Instead of a powerful epic that was supposed to impress with costumes and elaborate sets, grown men now fight in crocheted chain mail and worn suits in a dilapidated castle ruin, waging war on each other with imaginary swords, pistols, and hand grenades. Director Lehmann (Robert Gwisdek) fights doggedly for a vision that has been deprived of its resources. Only the authenticity of his actors' performances and the imagination of the audience are now supposed to be enough to lend the film credibility. Thus begins the story of Kohlhaas, the horse dealer (Jan Messutat). A man who still stands up for his ideals: sincerity and justice. Like his main character Kohlhaas, director Lehmann is willing to go to extremes to finish his film. Lehmann fights for his vision and his ideals—to the bitter end. KOHLHAAS OR THE PROPORTIONALITY OF MEANS celebrated its premiere in 2012 at the Munich Film Festival, where it was awarded the New German Cinema Prize. Lehmann's feature film debut was met with enthusiasm at the Max Ophüls Prize Festival in Saarbrücken and won the audience award. Critics praised the creative mix of meta-comedy and making-of satire, which simultaneously pokes fun at and champions German cinema. Produced by DETAiLFILM and MissingFILMs, the film marked the beginning of Aron Lehmann's career, who later enjoyed great success with “Das schönste Mädchen der Welt” (The Most Beautiful Girl in the World). KOHLHAAS ODER DIE VERHÄLTNISMÄSSIGKEIT DER MITTEL remains charming proof that passion, humor, and self-irony are often the strongest weapons in film.