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A feeling of finality weighs on the mind of Commissioner Krüger. He knows that after leaving the service there is only a great emptiness waiting for him. His colleague Fichte is about to be transferred; but the two can no longer talk about things like that. Marlene, his still beloved ex-partner, was diagnosed with Huntington's Disease and asked him pretty bluntly to "do the right thing" soon. And then there is his last case, the strange manslaughter of Lukas, a young blogger from Frankfurt am Main, who, like every year, went to his old home for Zampern (carnival in the Spreewald). Was it an act of brutal violence among young people who lost their identity somewhere between Tik-Tok and Spreewald customs?

Director Kai Wessel saw little room for hope or bright moments in this film. So the dark side of the orchestra is explored by the composer. There are hardly any contrasts, at most imperceptible transformations between brooding chord progressions, flickering textures, scraps of melodies that find each other with difficulty and the monotonous beating of a Landsknecht drum.

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