The railway age in the Austrian Empire began with the construction of the horse-drawn railway from Linz to Budweis. Plans soon followed to connect the imperial capital of Vienna with the iron and coal deposits in northern Moravia and with the port city of Trieste. In 1837 the Kaiser Ferdinands Nordbahn was opened, in 1857 the Semmeringbahn planned by Karl Ritter von Ghega, overcoming one of the most difficult obstacles on the way to the Adriatic. The crossing of the Alps by train, such as over the Arlberg or the Brenner, is still considered a unique engineering masterpiece. The expansion of the railway network brought epochal changes. Goods and people circulated on an unprecedented scale – life accelerated. It had succeeded in connecting the northern crown lands such as Silesia or Bohemia and Moravia with Carinthia, Tyrol or the coastal region.

The film is dedicated to the period between the first half of the 18th and the second half of the 19th century and goes in search of the traces that the Habsburgs left in Tuscany, but above all in Florence.

Amina Handke adapts the 1967 theatre play Kaspar written by her father Peter Handke. Instead of a young man being tortured by language, we meet an old woman played by the director’s mother, Libgart Schwarz, who loses her linguistic abilities while rehearsing for the very same play. What begins as a pure and playful family meta-fiction turns into a surreal, partly nonsensical Babylonian confusion, it’s just that it’s not different languages that are clashing but layers and fragments of the German language, the language of the father. The film avoids the traps of representational cinema. It’s all noises and muttering, injunctions and an almost Dadaist pleasure in repeating sentences until they completely lose their meaning.