Two boys lost in a dense, tangled forest. Two figures in ruins, changing landscapes, in rigid ancestral portraits, two men? One heavy, depressed – the other light, nimble, a fleeting boggart. They move through shimmering deserts into cold mountains, wander on top of each other, melt into each other, embracing each other and entangled in each other. A story about brothers, a man and his demons, and about perceived guilt. Its inevitability, its heaviness and its games. Formally held like an old folk tale, the narrative describes a perpetual circle of transformation and a perpetual cycle determines the choreography. Every movement, every form refers to the previous as well as to the following, every detail is transformed. The journey of the two men in the moonlight unfolds like a multicolored, psychedelic dream. In imaginary landscapes they encounter fantastic creatures, each other and themselves - always balancing on the fine line between comedy and tragedy.

The fairy tale of oldest origin speaks of the fate of the individual human being. Fairy tales are paths of the soul in pictures. With childlike naivety and simplicity it captures the original simplicity of the heart. In them, picture follows picture without gaps. Every sentence is a picture. Afanasev - the Russian Grimm - calls the primal fairy tales stories of the supernatural. They originate from a time when man lived in an inner picture show and formed these pictures in the picture language. The people did not make it up, they told about what they believed in. – Friedel Lenz in the preface to the collection of Russian fairy tales by A.N. Afanasjev

This piece is dedicated to all those adults around us who still carry their frightened inner child with them. Monsters whisper threateningly in their ears, but against all whispers they try to trust themselves. – Reut Shemesh

We want to relate to childhood, a period of active observation, a time when the world was good, when everything around us just happened. – Tim Behren