Young and attractive company executive Hanna von Stezewitz (Amira Casar) has everything, and 　　just takes whatever she doesn’t. She’s an arrogant and unscrupulous manipulator who has politicians 　　and banks in her pocket – she’s a perfect example of predatory capitalism whose preferred sartorial 　　look is patent leather and leather. To avoid boredom she seeks ever more extreme kicks and sees 　　her abuse of a young girl with hopes of a career merely as collateral damage, nothing money can’t 　　fix. The only person who stands in her way is her bedridden grandfather, the family patriarch, and his 　　reactionary worldview. Desperate to be rid of him, she hires a killer. When Hanna unexpectedly finds 　　a lover who is her equal in the shape of Sarah, the nun who is her grandfather’s nurse, her happiness 　　seems complete. But does she really have everything under control? Peter Kern has succeeded 　　in creating an angry, opulent portrait of manners in which everyone – rich or poor – is corruptible 　　or at least susceptible to seduction, and criminality and capital go hand in glove. A merry dance of 　　corruption in which anyone who steps out of time is simply brushed aside.