A hot summer in the city, too hot for long hair. But when Ann-Kathrin suddenly shows up with a new hairstyle, Jonas knows that changes are on the horizon. Not good ones: Without a word, Ann-Kathrin is off, accompanied by Jonas' boss himself; in her luggage is a picture that belongs to Jonas, a portrait of a girl that may hold significant value. This raises the question of whether the gallery owner Ira Constantin is truly after Jonas or just after the picture. Arno Geiger orchestrates an increasingly frantic chase through and out of the city: Even a modern good-for-nothing (and secret romantic) like Jonas wants to know why his girlfriend prefers to travel with someone else. He wonders this not only out of love and melancholy, for in the end, it is primarily the image of oneself that occupies the minds of the young cyclists and motorists.