Thomas Arslan’s third feature film describes a mental condition rather than external events. Exploring the world of a small-time German drug dealer, he creates an almost unrecognizable Berlin that is static and closed: anonymous residences with obligatory satellite dishes on their balconies, run-down industrial courtyards, dark hallways of old buildings. These images are beautifully contrasted with the clear, intensive colors of summer, bright walls, clean stairs, and the deep green of trees rustling outside of windows. Using minimal means (concise dialogue, brief movements, little music), Dealer portrays the consequences of breaking the strict codes of the drug world: with eyes wide-open, the film’s protagonist loses his friends, his family, and his freedom.