A Year Ago in Winter

In the polished yet pressure‑laden world of Munich’s design scene, Eliane Richter navigates a life built on perfect appearances. As a successful interior designer, she is accustomed to curating spaces that hide the turbulence underneath, a habit that now extends to the most personal corner of her home: the memory of her son, whose absence still casts a shadow over her carefully constructed facade.

Seeking a way to freeze that elusive presence, she commissions a portrait from Max Hollander, a painter known for his ability to glimpse what lies beneath the surface. His assignment is to capture both of her children—her late son, whose photograph she provides as a reference, and her daughter—on a single canvas. The commission becomes a delicate negotiation between artistic vision and a mother’s yearning for a tangible connection to what is no longer there.

The daughter, Lilli Richter, is a talented but emotionally fragile ballet student whose own ambitions clash with the weight of family expectations. She is drawn into the portrait sessions with a mixture of reluctance and curiosity, while also pursuing an uneasy intimacy with Aldo, a figure who offers a fleeting sense of closeness. Their interactions hint at a family dynamic built on unspoken rules, where failure feels forbidden and vulnerability is often concealed behind performance.

The film moves through soft, muted tones that echo the quiet tension of a household steeped in quiet desperation. It invites the audience to linger on the unarticulated grief and the subtle power of art to reveal hidden truths. As the painter and his subjects engage, the story suggests that the act of looking—whether through a camera, a brush, or a dancer’s poised body—may be the first step toward understanding the fragile facades that bind them.

Last Updated: October 11, 2025 at 19:41