Oliver Czeslik

A leftist poet meets a neo-fascist. Nearly unimaginable at the time, when Erich Fried, a poet committed to antifascism, visited the neo-Nazi Michael Kühnen in prison. A dialogue? A talk which makes fascists fit for good society? Or is it mostly driven by the search for motives for an attitude of contempt?

Oliver Czeslik inserts his fictitious documentary-maker Karl Klementi, who doesn’t accept the silence concerning the radical right and doesn’t tolerate the contempt of the contempt, into this socio-psychological, more than political, space. Klementi accepts the invitation of young neo-Nazis Ulli and Gero to their shelter to make a movie about the scene.

But Ulli and Gero hold the filmmaker hostage. For Klementi, an ordeal of being pressured by physical and psychological terror begins. He is supposed to be sacrificed on Hitler’s birthday in Dresden. He starts to hope when Ulli secretly signals to him that she is working for the newspaper “Tempo”, and Karl Klementi and the reader/viewer believe her for a long time. Ulli and Gero pass the time until the “big” day in Dresden by playing perfidious roleplays, in which Klementi is sometimes included as a prisoner, or a patient in a hospital or, sometimes, as a participant in a brutal gameshow. In one of those roleplays, Gero becomes the victim, and thus not only the nearest possible closeness with Klementi, but the nearest possible closeness between perpetrator and victim is achieved, and verbalised in longing for the old fighting days.