Liora Hilb

In a fast-paced action film with an international backdrop, an unsuspecting Edith (Mireille Perrier) goes to Frankfurt to work for a German friend who is investigating some illegalities in the transportation industry. After Edith arrives, her friend leaves for Berlin, so Edith goes to stay at the house her friend shares with a second-generation German-Turkish woman. Meanwhile, Gordon (Bruce Thurman) is out photographing some journalists armed with video cameras who are spying on a wealthy honcho in the trucking business. He accidentally follows Edith and photographs her, then ends up saving her from some attackers. The dramatic action intensifies as questions arise about what certain trucks are carrying into Germany, what Edith's friend has to do with exposing the cargo on those trucks, and whether or not Edith will remain an unscathed, innocent by-stander.

From the turn of the century - as emigrants to a New World - through the twenties and through the thirties - with great industry and the Great Depression - and finally during Detroit's heroic period in World War II - working in the armaments industry, the "arsenals of democracy." What remains when such men's dreams become real?

From the turn of the century - as emigrants to a New World - through the twenties and through the thirties - with great industry and the Great Depression - and finally during Detroit's heroic period in World War II - working in the armaments industry, the "arsenals of democracy." What remains when such men's dreams become real?