Ingeborg Bachmann was a lover of Max Frisch, a Swiss playwright. However, the relationship led to catastrophe, causing Bachmann severe trauma. Meanwhile, she meets Adolf Opel, an Austrian film director and a playwright. Opel proposes to travel to the Egyptian desert with him, where Bachmann regains her true identity as a woman and a writer. Also, it becomes an important motif in her work. The film lists and intersects the series of episodes that could be Bachmann's autobiography in a non-chronological, non-linear way.
The audience meets three different bodies in the film. One is Bachmann's, with infinite curiosity and passion desiring to expand endlessly toward the world. The other is Max Frisch's selfish, stubborn, and heavy body, which is jealous of the liveliness she oozes out and tries to control Bachmann's. The last one is Adolf Opel's, which helps the traumatized body squeezed by the heft of Max's and guides her to go over all the oppressive boundaries and expand toward a bigger world. The relationship that those three weave together questions us about what true love is. [LEE Kyung-mi]