Montag kommen die Fenster

Nina, a doctor, has taken a few days off. Househusband Frieder is laying tiles. Daughter Charlotte plays in her new nursery. But Nina stands alienated in the half-empty rooms. Without a message, she leaves her family behind. As in BUNGALOW, director Ulrich Köhler is interested in the question of what happens when social consensus, when norms of action that are taken for granted are revoked. That is the experimental set-up of these two films. (Director's Statement) "Köhler is concerned with the precise surveying of this apparent banality, with a precise topography of the middle-class soul." (arte)