Angela Schanelec makes films that likely catch everyone off guard at first. Not in a provocative or excessive way, but in a restrained and minimalist manner. Her cinematic concept of aesthetic and narrative levels sets itself apart from conventional cinema: she pursues an aesthetics of flatness, presents film as a self-reflective medium, and further develops the cinematic parameters of the Nouvelle Vague of the 1960s. But all of this is done with a serious economy of cinematic means. One could also describe her films as observations of everyday life. This reveals entirely new possibilities for potential cinematic depth: the viewer is challenged to think along, to recall their own experiences, and to connect them with the film in order to complete the stories. Factual and fictional elements intertwine.