An anonymous warning reaches four school friends: someone nearby may be thinking about taking their own life. Julia, Mina, Tom and Waldi begin looking at familiar gestures differently. This is not a thriller about identifying a culprit. The disturbing question is whether someone they know has been struggling without being heard.
Simon Ostermann gives that uncertainty room. Conversations feel hesitant and credible, with reassurance repeatedly undermined by doubt. Trust becomes fragile without turning these teenagers into exaggerated suspects. Muted colours, still compositions and restrained music make the school feel psychologically confining: a place where you must function while something inside you is already falling apart.
The ensemble is the film’s strongest asset. Mina-Giselle Rüffer brings hardness and inner conflict to Julia; Derya Akyol makes Mina’s control feel like a carefully maintained façade. Kosmas Schmidt and Lukas von Horbatschewsky show different responses to pressure, from tightening up to pushing it away. Their performances work together rather than competing for attention.
Lucas Flasch’s screenplay avoids a single tidy explanation or someone convenient to blame. Exclusion, expectations, loneliness and uncertainty accumulate. What remains unsaid is part of the problem, and the film understands that silence can be more revealing than a speech explaining everything.
There is a lot here: sexuality, background, class and digital overload alongside its central concern. It can feel crowded. But teenage life is hardly arranged into separate, manageable folders, and that messiness also feels truthful. I find this an important film because it asks difficult questions and makes the distress beneath an ordinary school day tangible. I give it 4 out of 5 points.