The story is interesting, but there are a number of problems. I don't have any idea why this movie jumps back and forth in the timeline; it doesn't help the plot at all. Anyway, there is a bigger problem -- the dubbing in English. It isn't a problem with matching lip movements, it's a problem with the some of the voice actors, especially the old lady. Her voice is almost comical. Her inflections are so bad that I'd bet a theatre audience would break out laughing. The other problem is the dubbing sound. When you dub a voice for an actor who is outside, you'd expect the voice to sound like it's outside, not like the voice was recorded in a studio. All the voices sound that way; close mic'd in an anechoic chamber. It was bad enough that I was tempted to switch to the Austrian language track and turn on English subtitles, the only problem was, English subtitles were not available.

_Blood Trail_ (as translated by Amazon) is perhaps Gotz Spielmann-lite, but still worth a look. The TV film is morally straight-forward compare to his highly rated _Revanche_, _Antares_, and also _Die Fremde_ (those are the three I have had the chance to see). It repeats quite a few motifs and themes from those films however: a underlying romanticism and humanism; ensemble cast with overlapping stories; promiscuous women (or sex workers) who need saving; murder and attempted murder. Here the good guys are the cops and the bad guy reads Nietzsche. The narrative is quite complex though, going forward and backward in time, linking a disappearance from long ago to a seemingly innocuous death in the present day. Unlike his Austrian compatriots Haneke and (I suppose) Ulrich Siedl, who make deeply nihilistic, misantropic films that are highly celebrated, Spielmann is a classicist. (The film is scored mostly to classical music, with a long debates about philosophy between the killer and the detective.) Despite the sordid plot points often found in his stories, forgiveness and kindness triumph in the end. Maybe that is why Spielmann has not been more celebrated in modern film culture! That, and his refusal to engage more famous actors.