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一个星期天穿衣服的小^{自编x213580c}孩^{自编x2135801}森林边上摘花最漂亮。一个穿着时尚的曼联夹克的年轻^{自编x2135804}骑着一辆拖把进了村子。这位穿着牛仔裤的电影制^{自编x2135806}人以一种活泼的步伐在城里大步走过。这三个数字可以解释为^{自编x213580a}演生活的各个阶段。^{自编x2135802}在镜头下说话，谈论她童年的家，现在站在村里废弃的主要街道上，“窗户坏了，门挂着开着”。两个年轻的主人公悄悄地走进来，在瓦砾堆里走来走去，寻找旧杂志、明信片、照片、衣服和鞋子。叙述者谈到了她死去的亲戚——一位姑妈、母亲、父亲，死在前线，祖母在家里开了一家小商店，祖父拒绝支持希特勒，因此被贴上了“不合适”和“边缘化”的标签……雷卡·容格曼追寻了她童年的轨迹，她称之为充满了“恐惧和迪斯科”。RD”。在这个电影故事中，她对家人的记忆活跃起来，“我在寻找^{自编x2135803}们。我也够不着他们。有些东西疼”。

A young girl in her Sunday best picks flowers at the edge of the forest. A young man wearing a fashionable Manchester United jacket rides a moped into the village. And the filmmaker, in jeans, strides through town at a lively pace. Those three figures can be interpreted as the various stages of the director’s life. She speaks off camera, talking about her childhood home, now standing abandoned on the village main street, “windows broken, doors hanging open”. The two young protagonists enter secretly and poke around in the rubble, finding old magazines, postcards, photographs, clothing, and shoes. The narrator talks about her dead relatives – an aunt, her mother, her father, who died at the front, her grandmother, who ran a small store in the house, and her grandfather, who refused to support Hitler, so was labelled a misfit and marginalised … Recha Jungmann traced the tracks of her childhood, which she called full of “fears and discord”. In this cinematic tale, memories of her family come alive, “I look for them. And I can’t reach them. Something hurts”.