Johannes, a doctor of physics, travels with his doctoral supervisor to a scientific congress in the Alps. A series of mysterious incidents occur on site. He meets Karin, a mysterious jazz pianist who seems to know more about him than she can know. Suddenly, mysterious deaths begin to pile up and Johannes tries to uncover the secret under the mountain.

1929年，德国。保罗与妻子离开柏林到深山去，寻找失意的作曲家好友薜夫曼，行行重行行，找着的已是严重抑郁，失去沟通意愿，精神恍惚的陌路人。保罗下山找医生，留下妻子照顾薜夫曼，却想不到，这个别离，却约定在彼岸他方才能重聚。他们皆执着脑海里的音符，在大自然四时不善意的新浪漫主义画意中，在马勒、费兹纳及华格纳世外气息配曲下，脱离文明走进人心迷离。这部竟然是电影系学生的毕业作，长镜头的场面调度已是大将风范，添高格这个新丁名字要记住。

Somewhere in Central Europe, perhaps in the vicinity of Vienna, in the near future. Ten-year-old Elli is an android, as we soon learn. She takes shape through programming and this turns her into a fantasy figure. Firstly for a man she calls “Daddy” with whom she lies by the pool and for whom she dresses up in the house at the edge of the forest. Elli is the vessel for his memories, which mean nothing to her, but everything to him. One day he runs after a strange echo and gets lost in the darkness while Elli, who follows him, is picked up by strangers. A new identity awaits her, a new ghostly existence – as a blank screen onto which others can project their loss of the paradise that is childhood. Austria’s new voice for the nexus between desire and the abyss, fear and mystery, feeling and emptiness is Sandra Wollner. As in Das unmögliche Bild, in her provocative second feature film she develops the plot from a complex basic constellation (not the other way around) and reconstructs families that never existed. And so the machine becomes a mirror of human emotion, and the film a captivating ladder into virtual and psychological realities.