A group of actors is on its way to Rome. They are rehearsing their roles and quoting passages of dialogue from classics by Shakespeare, Chekhov and Shaw and from the play by Edward Albee to which the title refers. The texts would appear to apply to the situations and the mutual relationships between the actors, who move around in small groups together. They have continually changing interactions and daily activities while they travel. Phone calls to the Goethe Institute in Rome to say they will be late are a running gag through the film.WerAngstWolf hardly has any dialogue that refers to everyday life. It is more a collage of texts that resonate with the different landscapes through which the actors travel: forests, the hills of Umbria, the increasing snowfall. The different narrative layers are interwoven with ironic, Brechtian distance.Klopfenstein has a liking for the fragment, not for the complete story. He regards himself as a painter who first collects all the desired colours on his pallet and only then starts to paint, inspired by the sea of colour he has before him. Among the ingredients he has at his disposal are not just his own virtuoso camerawork, but also an impressive cast, including Bruno Ganz and Tina Engel.
