In the young Federal Republic of Germany, which in the late 1950s in politics and justice is still interspersed with only superficially purified Nazi cliques, leads the Hessian Attorney General Fritz Bauer a lonely fight against the coverup of Nazi crimes and the restorative policy of the government Adenauer - he is firmly convinced that only in this way can the young democracy be consolidated. Not only his attitude, but also his temperament make Bauer vulnerable, again and again resistance forms from politics, intelligence services and the judiciary against the lone fighter.

14 years old Uwe grows up in a dull multi-storey apartment building in a suburb of Hamburg. His father is an alcoholic and beats his son while he's drunk. Only together with his clique Uwe feels strong and accepted. Their aggressions focus on the Asiatic boy Dschingis. When the younger boy dares to fight back, Uwe declares war on him.

Trojan is released from jail and goes straight back to his profession as a criminal. He gets hold of a weapon and looks out for new jobs. In just a few takes, Thomas Arslan sets up the anonymous world of his gangster protagonist by falling back on motifs and characters from the genre. The backroom of a car workshop, parking lots, furnished apartments. One meets men and women who distrust each other because they are all out to line their own pockets. The setting changes constantly, with surveillance and chase scenes providing a dynamic narrative rhythm. Since crime makes up Trojan’s daily existence, the film concentrates entirely on the technical nature of a life outside the law. The reduced and clear-cut images – shot with a Red camera 
– highlight the exact sequence of events. In the Shadows (Im Schatten) is a genre film that focuses consistently on the mechanics and external process of a crime. It develops a sense of great suspense, without burdening its figures with personal stories. Each hand movement has to be right.