My relationship to landscape is a very personal one. Where I come from, landscapes are very important. Austria "sells" or better "narrates" itself through landscapes. Landscapes can therefore be seen like a psychological room, they exclude and include. It was important to me to talk about landscapes as a starting point and as a backdrop for the whole film, to show that these structures of repression are always there. I came across the Austrian dancer Hilde Holger, who had to flee into exile in 1938 to India. 
I embedded her story in a different narrative featuring a fairy tale about poverty and power structures, a therapy session, a narration about me transforming into a snail, examining the human condition. The film deals with the idea of cultural continuance amidst traumatic displacement of bodies, objects and histories, through what is carried, transmitted and recast in cultural and body memory. The fairytale of the town musicians of Bremen now is not only a story of poverty and repression, but also of displacement, and thereby becomes a very contemporary narration about the Austrian past, the repressed history, the denied violence. The film opens and ends with a haunting score, and a voice seeming to come from the internal monologue of a slow barefooted hem of a robe believing itself to be a snail only contemptuously impersonating human life. A lesser degree of truth can produce a higher degree of truth, and the use of autobiography is a miraculous means to explore truth.