The Last Fire: On a bright August day, a boy is run over in a forgotten neighborhood on the outskirts of the city. He ran into the car of a policewoman who was pursuing a young speeder she believed to be a terrorist. Just before, a stranger had entered the neighborhood and played with the boy. He is the only witness to the accident. In hindsight, it slowly becomes clear how the tragedy seeps into the fragile lives of all those involved – the parents and grandmother, the policewoman and the young unlicensed driver, the teacher who had 'lent' him the car, the friend, and the mysterious stranger. It is a society that does not know the concept of 'upswing,' which draws hope in its search for comfort and happiness, only to ultimately fail. In Land Without Words, a painter embarks on a quest for a language of pain. How to give form to the formless that threatens to overwhelm? In light of the omnipresent horrors of war and misery, the painter explores ways to represent pain and capture it on canvas. Dea Loher succeeds in this monologue in describing the terror of the victims as well as that of the observer while reflecting on her own artistic production.