http://m11.manifesta.org

The conflict between freedom and security underlies Marco Schmitt’s film.
 Schmitt’s template was Luis Buñuel’s surreal masterpiece El ángel exterminador 
(The Exterminating Angel, 1962), where rich and influential guests at a dinner party feel themselves,
inexplicably, to be trapped in a room. The macabre metaphor from Franco-era
Spain is not lost in present-day Zurich, where the police museum, bristling with
confiscated weapons, is the claustrophobic setting for the drama.
The police officers who took part in Schmitt’s method acting workshops can be
seen, however, to enjoy the comic release from their professional personae.