Überall gibt es ein Hausen deliberately moves away from polished, conventional storytelling. The wtp collective's experiment combines comedy, drama and observation around women attending a remote self-discovery seminar. The promised harmony rapidly gives way to misunderstandings and friction.
The film's collective, improvisational approach is part of its appeal. Performers develop interactions together rather than making every exchange feel predetermined. The result can be spontaneous and alive, but also noticeably rough.
The group's differences produce humour and moments of uncomfortable recognition. A shared performance of the song Sturmfrei briefly creates an affecting sense of unity. The fragility of that connection matters more than a tidy progression towards personal enlightenment.
The work behind the camera is reflected in the people trying to coexist in front of it. Some dialogue feels natural and quick; elsewhere improvisation produces repetition or stiffness. Silence, looks and unspoken feelings often communicate more than the spoken exchanges.
There are no simple heroes or villains. The film allows people to remain inconsistent and lets the group's tensions expose them. That interest is stronger than its dramatic perfection.
This is raw, playful and sometimes demanding cinema. Viewers expecting a conventional plot or glossy presentation may struggle with it. Those interested in free performance, a documentary-like gaze and uncertain human connections can find small, unexpected discoveries. Its idea and willingness to experiment make it worth considering despite the unevenness.