Again the film centres on a decidedly ordinary young woman – here, thirtysomething single Simone – caught up in an extraordinary situation: finding she’s pregnant after an anonymous (and evidently rare) one-night stand, she visits the hospital and unexpectedly bumps into the man in question. Still more surprisingly, this young doctor reveals he’d hoped to see her again and, told of the pregnancy, confesses he wouldn’t mind their becoming a couple. Nor would Simone – but is it all too good to be true? Few films have explored the psychological effects of pregnancy, planned or otherwise, and as with Gisela’s account of an extramarital affair, Stever steps into the fray bravely but wisely; steering clear of moral commentary, she allows actions to speak for themselves, while colour, lighting, landscape and architecture are deployed to evoke Simone’s swings between enchantment and alienation, desire and despair. Kuhl’s understated but eloquent lead performance fits the bill perfectly.