"I think I have to start differently", says the father and starts over. The world isn't always beautiful, says the mother. Marian Mayland interrogates her own childhood, the parents and her siblings: the atomic threat of the late Cold-War, the family business, mental illness in the family, things that remained unsaid. Mayland misses her childhood home in fragmentary shots: surfaces and corners of rooms, carrier of readable and unreadable history. The nearby surface mining offers a drastic image of sedimentation. Here, cinema is not a means of creating a visible order in a family structure, but of making the tangle of entanglements visible in its complexity.