With: Marinella Damiani, Andreas Deinet, Nadine Dubois, Andreas Frakowiak, Max Gertsch, Emiliano Gimenez, Henry Krohmer, Maria Kwiatkowsky, Christoph Letkowski, Marie Löcker, Arturo Martinez Cabrera, Christopher Nell and Jorres Risse Director: Carolin Mylord Film direction and live camera : Andreas Deinet Set: Edwin Bustamante Costumes: Adriana Braga Lighting: Johannes Zotz Dramaturgy: Sabine Zielke Miami Airport in 2013: A private plane coming from Cuba explodes, with Florida’s most famous building contractor Leland Loyd and the young Angela Fernandez on board. Terror, Murder or Misfortune? The unpredictable, the force of the detonation and the shredded human bodies evoke nine-eleven for moments. FBI agent Chet Desmond is immediately on hand to provide a suspect for his investigation. But this approach leads nowhere. Javier Rodriguez, a Cuban drug chief and member of Cuba’s government, has been busy between Miami and Havana after his country opened its borders and freedom also brought smuggling, money laundering and drug trafficking. And this is where the mysterious smells for Rodriguez. Older, filthy rich, influential American and a young girl nobody knows? After all, it is known that Loyd invested in Cuba… Rodriguez has no idea that he is personally involved in the case, that his young wife Maria is connected to the dead Angela, that both move and move in the milieus that he is fighting. He doesn’t know about Maria’s double life. As a loyal and privileged functionary with a lost ideological shell, he puts all his energy into his job. His absolute love belongs to Cuba, while America is exporting a dream: Cuba should be cleansed of its history, loaded with fresh blood and new energy and flourished in the New World. The visibly materialized is on the rise, and so the crime from Miami Airport leads all investigators to Havana: the American prosecutor Briggs, FBI agent Desmond and Sheriff Stanley, Teniente Rodriguez, but also the white-collar criminals who are parallel, cheeky and boldly conduct their business. And they don’t shy away from murder. The spheres of both state worlds penetrate each other, misunderstood statements in language, signs and gestures rub against each other, the inexplicable and forebodings come to the surface, similar to how David Lynch portrayed the unspoken in his America films. Desmond speaks America’s hope, Maria’s werewolf dreams tell of the heart of Cuba, and so the crime blues can also be seen as America’s fall with a glimmer of hope for Cuba’s rebirth.