Images, scenes, ballast. Mantra and metamorphosis. In the three new films by Antoinette Zwirchmayr, women figures find themselves in various spatial and temporal constellations. We witness formalized sequences and gestures in stage-like architectures or against enchanting natural backdrops, accompanied by powerful words. The dense language of playwright Dea Loher in Land Without Words (2024) and—hauntingly reduced—in YahneYahne Or the Drowned Child (2025) ultimately makes way for the siren-like singing of musician Teresa Rotschopf in Currents And Orders (2025). The cinematic conjuring of presence is narratively interlaced with various facets of temporality.