“The Meadow”, a film by so far unsuccessful director Fritz Aigner, causes a surprising stir at the Venice film festival. As a result, a notable producer tasks Aigner to shoot a sequel. The making of the film turns out to be a disaster. As the entire film crew rebels against the director’s growing delusions of grandeur, he finds himself confronted with the antagonists of his own fiction: Morgenstern and Boyd. They suck him into a spiral of sexual obsessions and omnipotent fantasies, at the end of which there can only be the failure of the film or death itself.

“The Meadow”, a film by so far unsuccessful director Fritz Aigner, causes a surprising stir at the Venice film festival. As a result, a notable producer tasks Aigner to shoot a sequel. The making of the film turns out to be a disaster. As the entire film crew rebels against the director’s growing delusions of grandeur, he finds himself confronted with the antagonists of his own fiction: Morgenstern and Boyd. They suck him into a spiral of sexual obsessions and omnipotent fantasies, at the end of which there can only be the failure of the film or death itself.

“The Meadow”, a film by so far unsuccessful director Fritz Aigner, causes a surprising stir at the Venice film festival. As a result, a notable producer tasks Aigner to shoot a sequel. The making of the film turns out to be a disaster. As the entire film crew rebels against the director’s growing delusions of grandeur, he finds himself confronted with the antagonists of his own fiction: Morgenstern and Boyd. They suck him into a spiral of sexual obsessions and omnipotent fantasies, at the end of which there can only be the failure of the film or death itself.

“The Meadow”, a film by so far unsuccessful director Fritz Aigner, causes a surprising stir at the Venice film festival. As a result, a notable producer tasks Aigner to shoot a sequel. The making of the film turns out to be a disaster. As the entire film crew rebels against the director’s growing delusions of grandeur, he finds himself confronted with the antagonists of his own fiction: Morgenstern and Boyd. They suck him into a spiral of sexual obsessions and omnipotent fantasies, at the end of which there can only be the failure of the film or death itself.