Holy Meat – Make–up Design Between Concept, Everyday Life and Cinema

On January 1st, 2026, the film Holy Meat was released in cinemas nationwide. For me, this project marks not only the beginning of a new year, but also one of the most intense and at the same time most peaceful film projects I have ever had the privilege of working on.

Together with my colleague Lucy Fietz, I was responsible for the entire makeup design – from the conceptual preparation to the support of the actors on a total of 22 shooting days .

Preparation, exchange & conceptual work

Even in the preparation phase, we worked intensively on the visual design of the makeup.

This included mood boards , content coordination, and several conversations with director Alison Kuhn to understand her vision not only technically, but above all atmospherically.

Mia's Moodboard

Moodboard for a play

This intensive preparation was a conscious foundation for us to keep the daily routine on set as calm, clear and efficient as possible . The more that is clarified in advance, the more space is created on set for concentration, trust and spontaneous fine-tuning.

On location, we therefore worked very closely with the performers, gave them space and actively involved them in the process so that they could move confidently and credibly in their roles.

This interplay of conceptual preparation and relaxed presence on set was a key foundation for the makeup design of Holy Meat .

Task allocation & collaboration

For Holy Meat, we were both equally responsible for the makeup . To make the processes on set clear, flexible and efficient, we divided ourselves internally into make-up and hair – not as a separation of responsibilities, but as a structuring measure for communication and organization .

This division of labor allowed us to group questions in a targeted manner while still being able to seamlessly transition between topics. In the practical work on set, we both handled makeup and hair, and jointly supervised the actors.

This resulted not in a classic separation of trades, but in a close integration of both areas , which allowed plenty of room for flexibility, exchange and joint decision-making.

A conscious aesthetic decision

One of the most formative scenes for me was the staging of the play within the film. It was less about perfection than about a very conscious aesthetic approach , which we developed as a makeup concept.

Our idea was to create a look that appears as if the characters had done their own makeup – untrained, intuitive, perhaps even a little too much or too little. And at the same time, this very "amateurish" look had to work in front of the camera, remain consistent, and support the story.

This balance between apparent imperfection and clear visual language was not a contradiction, but rather the core of the concept. Reduced techniques, visible decisions, and deliberately placed breaks created a look that was not decorative, but narrative.

It is precisely these kinds of moments that I love about film: when makeup doesn't beautify, but shows attitude and becomes part of the narrative.

Fast changes, big moments

A personal highlight was a very quick mask and hair change that Lucy and I implemented together – on the loading ramp of a light truck, improvised, highly concentrated and in perfect coordination.

There we finished the hairstyle of actress Homa Faghiri – one of those typical film moments that cannot be planned, but which show how important trust, routine and teamwork are on set.

Mask change in the light truck

Make-up_trailor

Such rapid changes require not only speed but, above all, coordination . For one of these changes, Lucy, Felix (additional makeup) and I worked simultaneously on the actress Lou Strenger – every movement coordinated, every action part of a shared sequence.

Holy Meat is a film that leaves room for interpretation – and precisely for that reason demands precision. The makeup here is not mere decoration, but an integral part of the narrative, closely connected to the characters and their development.

I am very pleased that this film is now finding its audience and am excited to see what develops from this project.

Press reviews on the cinema release

At the time of its theatrical release, Holy Meat was perceived in various media as an independent and unusual cinematic work:

"Stylistically, Holy Meat oscillates between grotesque, dark comedy and realistic, melancholic drama."— epd Film

"A quirky, unsettling, but highly entertaining film that clearly stands out from the local cinematic landscape." — film-rezensionen.de

“ An absurd triptych about loneliness, responsibility, and the Catholic Church. ” — Camino Film Distribution

Film & Showtimes

Current cinema dates and venues for Holy Meat can be found here: 👉 https://www.kinoheld.de/film/holy-meat

Further information, press releases and background material: 👉 https://www.camino-film.com/filme/holym

eat/

Credits

Film: Holy Meat

Theatrical release: January 1, 2026

Directed and written by: Alison Kuhn

Production: Niama Film , Domar Film , SWR Südwestrundfunk

Rental: Camino Film Distribution

Camera: Mathias Reisser

Light: Tilman Hautsch

Clay: Markus Rebholz

Costume: Juliane Maier

Mask: Faye Ryan,Lucy Fietz

Cast: Homa Faghiri, Jens Albinus, Pit Bukowski, Christian Pätzold, and others