Sarah Schmidt

The engineer Rosalie leads a life without standing still. She doesn't feel old for a long time, only mature. When Rosalie returns to Germany after a fainting spell at a solar project in Africa, it's just supposed to be a breather. When she shows up at her bourgeois sister Margret's with a huge container, she is not very enthusiastic about the surprise visit. The retired teacher sees right through that Rosalie isn't staying with her voluntarily. The well-travelled woman is broke! It seems like a miracle that there are a huge chunk of banknotes in a hole in the wall of the room. On the other side of the wall there is the room of the highly talented high school graduate Karla, who rents a part of Margret's house with her father Harald. After a failed first meeting, Rosalie befriends with the wheelchair-bound teenager and sets her mind on getting Karla out of her sheltered isolation, even against her will.

Film journalist and critic Rüdiger Suchsland examines German cinema from 1933, when the Nazis came into power, until 1945, when the Third Reich collapsed. (A sequel to From Caligari to Hitler, 2015.)

«The earth has a memory», it is once said in this film. It embraces the dead, and with them their memories. Digging for these memories can reveal another life. Not as a document, but as fertile ground for feelings and thoughts. Director Levin Peter spends a lot of time in intense conversations with his grandfather who used to be stationed in the Ukraine as a soldier of the Wehrmacht. Levin travels there, looking to trace and excavate what he has heard. What he has heard are the kind of tales that can haunt you in old age.