Briel connects Heinrich von Kleist's final days and his joint suicide with Henriette Vogel at the Kleiner Wannsee with the revolutionary atmosphere of 1968 in a film as visually powerful as it is focused on literary language, and strongly influenced by the mystical imagery of Dreyer's Vampyr. While Vampyr is a "homeland film for everyone" "who has never quite arrived in the world" (Daniel Illger), one can, echoing Kleist and referring to "Like Two Merry Airshipmen," also think here of all those who could not be helped on earth.