Like in a dream, shadowy landscapes pass by. Time and again, the silhouette of a decaying, overgrown ammunition hall breaks through the image. The gaze drifts toward the sky, searching for stability, only to lose itself once more in the dense forest. Katharina Pichler’s experimental film Im Dickicht unfolds a subtle, almost eerie tension through its alienated visual language and uses the forest as a metaphor for the complexity of human perception.