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In terms of pure imagination, both Doerrie and husband/longtime cameraman Helge Weindler are at their peak here. The weird, Fellini-like characters peopling her heroine’s Cologne skyscraper, the carnival masks on the city’s streets and her oddball yet sympathetic characters all come together in a fantastic, funny and bittersweet bouquet. Weindler’s cinematography is luscious, warm and impeccable.