It's the 70s, the time of utopian community ideals. Karo, with her mother Dalia, moves into an abandoned building in Amsterdam. Dalia is following her lover, a man called Raven, the charismatic leader of a squatter group. In the community everything is shared and free: sex, living areas, drugs. Or that's what Raven wants; in reality Dalia is not happy when Raven brings in another woman, nor are they able to get necessities like water without cash. Gradually the initially rosy-looking arrangement starts to crumble.

Karo, as part of the community, witnesses all of this at a close distance. The struggle of Dalia is especially distressing to her. She's upset at both at her mother, and Raven. Much of what happens Karo takes in a matter-of-factly manner, lacking experience to place judgement.

This is the approach of the entire movie: events are simply shown as they happen. The plot centers around the love triangle, and the demise of Raven's plan. There are few wide shots, and few extreme closeups, creating a somewhat home video feel. Everything is filmed hand-held, with occasional overt camera shake. The result is nervous and chaotic, with a very unpolished feel. You can argue the style is similar to the lifestyle of the community, but I simply didn't enjoy endless stream of shaky, cramped picture.

The movie is a little hard to find. It's sold for example by Van Stockum, linked on the right. Subtitles are easy to find by some googling. The release has a feel of a cheap production, such as consistently soft picture and abrupt scene cuts.

The movie can be thought of as being about the cultural phenomenon of utopian squatter communities of the time, or as a growth story of Karo. As former, it conveys the message fine, though the style could be more pleasant. As latter, I find there's something missing that would make the story involving. Perhaps the style is too documentary. There's no narration and little in way story arc. The character of Karo is also not particularly appealing. She's mostly either indifferent at what's going on, or displeased, and shows plenty of realistically childish behavior in a manner that comes across much more bratty than endearing.

Anna's acting is very natural. That I never came to care about her character is fault of the movie, not the actress – I didn't care about any other character either. What Anna's performance gives you is a look at a child coping in an uncomfortable arrangement, nothing more. Most movies would at least evoke sympathy by showing such things, but not this one. Recommended only if Amsterdam squatters and hippie ideologies are among your interests.