Thomas Plenert “pushes the limits of what you can do with a camera, sometimes pushing it over the edge. […] The use of color is interesting, especially in the final scene, and in the nightclub scenes, where the use of color approaches the work of Luciano Tovoli in Dario Argento’s Suspiria.” —Jim Morton, eastgermancinema.com

“Misselwitz’s strong female characters appear authentic because they contain contradictions. They are self-confident, emotional, traumatized, weak but nonetheless brave and resilient. They act based on authentic, self-determined will, even when they make themselves vulnerable or fail.” —Therese Koppe, International Frauen Film Fest, Cologne and Dortmund

“A humorous yet sensitive treatment of dead-end lives.” —San Sebastian Film Festival

“A beautiful, whimsical and at times magical film about love, longing and racism.” —Goethe-Institut Montreal

“One of the few German films to deal with contemporary political and social issues shortly after the political Wende in East Germamy.” —film-zeit.de

“Images, photographed by Thomas Plenert, the likes of which have not been seen in German film for a long time.” —Berliner Zeitung