Stephanie Krogmann

Olav Hintz, a retired teacher who loves only himself, needs care as he sits in a wheelchair. The nurse, the single parent Trixi has several jobs to complete and gives the care to her 3 children. Chaos is on.

Three women go to court after their breast implants turn out to be made of cheap and potentially cancer causing material.

Single mother Maria falls from the clouds when the police come: She does not believe for a second that her son, Matis could have killed the pretty Lea from next door. He is in his early 20s, but still thinks and feels like a child - right? After his arrest, Simon finds a sex booklet belongs to him that the bus driver Bacher sold him. Matis actually makes a confession, to which, however, the psychologist Benjamin doubts. In the meantime, mother Maria is investigating on her own. The thriller gradually increases its level and excitement.

The story is set some time in the past, or maybe some time in the future. Given a time-frame, we would say somewhere between the American moonwalk, and Coca- Cola's serious ambition to turn the moon into an advertising logo. Our central character, the young lift operator, is formed by experience into cynicism, detachment, and apathy. The story builds to its crescendo: of public outrage and state crackdown; the banality of commercial interest and the monumental rape of nature. Set in a large newspaper office, the Lift is a place of relative safety. But floor by floor, with each passenger in his or her tableau, the atmosphere of mayhem seeps in. Finally our young character leaves the situation, far-gone in hopelessness and disinterest.