'The interweaving of documentary with scripted material in Regine Steenbock's film Herz is matched by the use of real architecture as theatrical backdrop and the artificial character of the 'figures' in the film: a man and a woman. Figures without any psychological make up or aspects with which the audience could identify: they are there to mark positions in an imaginary construction - 'the love story film'. This film does not attempt to furnish 'Love' with a classical resolution, but rather it allows it to appear between the images as an utopian moment.' - Ines Sommer.