Two screenwriters, working on a deadline on Halloween night, creatively disagrees with deadly outcome.

Small town resident Valters breeds his pigs and sings in the local church choir. His childhood secret however, prevents him from integrating in the community. After the death of his father he tries to establish contact with Aija. This is not the beginning of an ordinary young couple’s love story.

Here Müller and Kluge explicitly address a theme that is latently present in many of their conversations: the relation of intellectuals to reigning political power. Given his many writings on Frederick the Great, it is not surprising that Müller begins the discussion with the “love-hate” relationship between the 18th Century Prussian King and the French Philosopher Voltaire. Moving to the 20th Century, the conversation then focuses for the most part on intellectuals and their relationship to totalitarian regimes. An initial sketch of an encounter between the Russian writer Maxim Gorky and Vladimir Lenin in the post-revolutionary Soviet Union segues into a treatment of the German writer Ernst Jünger in the Third Reich (1933-1945). Müller follows this up with remarks about the importance of Jünger for his own thinking as a writer before and after the founding of the German Democratic Republic.

Lourdes is almost 24, works at a casting agency and takes care of her handicapped father, since her mother abandoned them years ago without explanation. Strange for her age and despite the advice of her best friend Victoria, Lourdes has never had a boyfriend or a kiss, just an internet flirt. One day, her mother returns home, reopening old wounds