Ines (Kathrin Ackermann) is an independent, modern professional working on a television documentary and living with Andreas (Klaus Gruenberg), a writer, when one of her friends attempts suicide and subsequently finds a temporary refuge with the couple. Whereas the suicidal friend Monika (Brigitte Karner) is overly dependent on men to give her life meaning and automatically serves others like a "true" female, Ines cares about Andreas and her friends within very carefully defined limits -- any emotional attachment or dependency would be taken as an embarrassing weakness. Ideally, Ines might be pushed to a more human balance somewhere between the extreme fragility of Monika and the tough rigidity of her friends when she gets a letter from a son that she has not seen since he was three years old. He is now 16, still living in the U.S. with his father, and wants to meet her. His request catalyzes her emotional development and forces her to communicate her feelings and this news to Andreas -- who proceeds to react with childish jealousy. As Ines begins to change in her attitude toward her long-ignored son, the subtleties of her awakening are expertly rendered. Director Dagmar Hirtz has created an intriguing and perceptive drama of a woman's gradual definition of her own self.
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