一位年轻的波兰出生的柏林律师从事难民案件的工作，出乎意料地与他的父亲团聚，他的父亲是他与家乡唯一的联系。

Der rumänische Fernfahrer Stancu hat seinem Neffen Dragan eine zweite Lenkzeitkarte gegeben. In ihrer Firma ist es üblich, die legalen Lenkzeiten durch eine zweite Fahrerkarte zu verlängern. Aber als Dragan durch Sekundenschlaf am Steuer fast ums Leben kommt, sieht sich Stancu plötzlich in der Verantwortung. Hin- und hergerissen zwischen Lieferdruck und seiner Sorge um Dragan, verstrickt er sich in ein Netz aus Notlügen.

Brecht's play revolves around Anna Balicke, whose lover (Andreas) has left to fight in World War I. Anna's parents try to convince her that he is dead and that she should forget him and marry a wealthy war-materials manufacturer, Murk. Anna agrees to this arrangement eventually, just as Andreas returns. Believing that the poor proletarian Andreas cannot provide the kind of life for Anna that the bourgeois Murk can, Anna's parents encourage her to stick to her agreement. Eventually Anna leaves Murk and her parents and, against the backdrop of the Spartacist uprising, searches for Andreas. In the final scene they are re-united; to the sound of "a white wild screaming" from the newspaper buildings above, they walk away together.

The play dramatizes many of the grievances of the Spartacists in their uprising. The soldiers returning from the front felt that they had been fighting for nothing and that what they had before they left had been stolen. Murk, the war-profiteer who did not fight and who instead made a fortune from the fighting, and who attempts to steal the soldier's fiancé, symbolizes that feeling by the working class of having been cheated.

When the film begins, it is all over. “We know it’s terminal, and that’s all”, says Juliane of her mother Kerstin, who is in great pain and about to die aged just 64. Although the young doctor she consults acknowledges on a personal level that everyone has the right to manage their own death, he nonetheless reminds her that euthanasia is still illegal in Germany. This is even more the case at the Catholic hospice where Kerstin is staying. As relatives come to say goodbye to her mother and the emotions of memories mingle with the anticipation of grief, Juliane finds herself having to do battle with time – unbending, apathetic and monochrome – and this is superbly reflected in the convulsions of the handheld camera in wide shots.
Based on personal experience, Jessica Krummacher’s second feature film vividly relates the painful story of losing a parent. There is no violence or morbidity, rather the director describes the most important of events via the smallest, most fragile of details – the exchanging of words, texts and tender gestures that remain with us and get under our skin.