Tatjana Fanny Honegger

In the ruins of the Disibodenberg monastery, the voice of Hildegard von Bingen sneakes through the walls. As the day goes by, the space empties of people, and with the arrival of the night, a vision emerges.

In the ruins of the Disibodenberg monastery, the voice of Hildegard von Bingen sneakes through the walls. As the day goes by, the space empties of people, and with the arrival of the night, a vision emerges.

In the ruins of the Disibodenberg monastery, the voice of Hildegard von Bingen sneakes through the walls. As the day goes by, the space empties of people, and with the arrival of the night, a vision emerges.

In the ruins of the Disibodenberg monastery, the voice of Hildegard von Bingen sneakes through the walls. As the day goes by, the space empties of people, and with the arrival of the night, a vision emerges.

In the ruins of the Disibodenberg monastery, the voice of Hildegard von Bingen sneakes through the walls. As the day goes by, the space empties of people, and with the arrival of the night, a vision emerges.

Dijana and Andreas find themselves alone in Sonnenhof, their idyllic estate in the Swiss countryside, since their daughter Tatjana has moved out. At the height of summer, the sudden arrival of their gardener Ana triggers a strange feeling of melancholy in Dijana, driving her to set off in search of her Serbian roots to find some degree of consolation.

Daily life unfolds in a gated community of Manila amidst birdsong, effigies of the Holy Family, lush greenery and the intricacies of class. Rafael Manuel's (co-director alongside Tatjana Fanny) intimate gaze on his own childhood home oscillates between personal and political, offering a tender yet piercing view into social and familial structures in the Philippines.