Young and attractive company executive Hanna von Stezewitz (Amira Casar) has everything, and
        just takes whatever she doesn’t. She’s an arrogant and unscrupulous manipulator who has politicians
        and banks in her pocket – she’s a perfect example of predatory capitalism whose preferred sartorial
        look is patent leather and leather. To avoid boredom she seeks ever more extreme kicks and sees
        her abuse of a young girl with hopes of a career merely as collateral damage, nothing money can’t
        fix. The only person who stands in her way is her bedridden grandfather, the family patriarch, and his
        reactionary worldview. Desperate to be rid of him, she hires a killer. When Hanna unexpectedly finds
        a lover who is her equal in the shape of Sarah, the nun who is her grandfather’s nurse, her happiness
        seems complete. But does she really have everything under control? Peter Kern has succeeded
        in creating an angry, opulent portrait of manners in which everyone – rich or poor – is corruptible
        or at least susceptible to seduction, and criminality and capital go hand in glove. A merry dance of
        corruption in which anyone who steps out of time is simply brushed aside.