The seasoned team that made KOMM, SÜßER TOD, SILENTIUM and KNOCHENMANN has done it again – but it’s no thriller, or a horror film, or a crime drama comedy but a cop film. Brenner, a little closer to the edge than usual, moves out of necessity back to his Austrian home town, back to the house he grew up in, and the place where he went to the police academy. Soon he is confronted with the past and gets involved in a tragic story between his old friends. Who fired the gun is obvious to the audience but not to those involved. But what is missing is the motive behind the crime. And Brenner is having trouble with his short-term memory. The relationships in the film are so complex and interwoven that the fear of death meets an unrecognized longing for friendship. Every encounter runs a fine line between trust and betrayal. In a short succession the same character can activate a deep compassion and a cold revulsion. Not easy to create a clear picture. In pervious Brenner films no one and no thing is ‘entirely’ correct. The attained aim in life of the failed detective: not to become like the chief of police. When the police pick up Brenner riding a scooter drunk, without a helmet and with a handwritten licence plate, he explains in an affable yet disdainful manner: “I don’t have any warning reflectors either.” Doesn’t matter, no warning signal could protect against the unfolding cascade effect.

Anna Stemmler