Sophie, a student of Egyptology, and Christoph, an unemployed actor, respond to a box number following a job advertisement in the daily newspaper: “Who will look after my house for six weeks for good pay?” Without knowing about each other, both are accepted. They meet for the first time when they arrive at the house. The rules say that they can do whatever they want in the house. The only condition: they are not allowed to enter one room, which is locked. And they have to spend the nights in the house.
No sooner have they accepted the job than strange things start happening. The two inhabitants are sure they are being watched, even manipulated. More and more, they project their own repressed thoughts onto the forbidden room. Between dream and reality, they develop a labyrinth of emotions...
“I believe that acting starts to be moving when it is personal and authentic, and that works better when the actors handle the role themselves and are not merely vicarious agents of some 'circus tamer'. In other words, I leave it up to the actors – who I see as artists and not as vicarious agents – to create their roles themselves. [...]
It is always called – against my will, I would like to emphasise – a Roland Reber film, but it is a collaborative work. They are wtp-films. Everyone takes part in the creative process. Many colleagues think that artistic, technical and administrative positions should be divided, but I don’t believe that. Creativity is not divisible; it’s a holistic process. We are not a company that produces films, we are all filmmakers. And that is a truly holistic process. And a collaborative one.”
“It was our first feature film together. We 'occupied' a house for a few weeks with the permission of the family living there, nestled in between the kitchen (“Please don't cook for a while, we’re making a sound recording.”) and the living room (“Can we leave things like this until tomorrow, please don’t move them, we’re doing a follow-up scene.”) with our equipment, which was still rather sparse at the time. The dolly was a wheelchair; we had one camera, sound equipment and four film lights. The team consisted of six enthusiasts. There was no script, but we had an idea and the vision to develop a film together day by day.”