Barbara Albert's drama is more an exercise in mathematical precision than an interaction between defined individuals. In seeking to establish links between plane crash survivor Kathrin Resetarits and the seemingly disparate residents of a nondescript town, she revisits the notions of chance and coincidence explored in fellow Austrian Michael Haneke's Code Unknown.
The ensemble works hard to convey the trepidation and isolation of everyday life, while the melancholia is shrewdly relieved by a vein of dark wit. But, despite the recurrent use of high-angle shots to suggest a guiding presence and the construction of a soulless shopping mall to reinforce the replacement of community with commercialism, proceedings meander to a conclusion devoid of resolution or revelation.