"By choosing the director's focus on language and tonality instead of explicit representation, while at the same time maintaining an almost physically palpable intensity, he skilfully peels out the concentrate of the shivering. (Thierry Frochaux, P.S. newspaper, June 17, 2016) [translated from German]
"A clever move by young director Gabriel S. Zimmerer to avoid any splatter illusionism and to put the crimes on Maximilian Kraus' telephone report in Burgess' cool artificial language; to rely on the fictional painting of the two great actors. Zimmerer stroked the novel massively; in return he rocked the feelings of fear, loss and lack of freedom onto the stage: the sound of the 21st century. (Alexandra Kedves, Tages-Anzeiger, June 13, 2016) [translated from German]
Alex likes classical music and Moloko Plus, also sex. And Alex is a monster. That's why he doesn't meet his friends for cozy evenings, but to rape people. He gets caught and ends up in state prison. At this place of buses and lack of hygiene, he reads the Bible and feels part of something big: he imagines himself as a uniformed Roman torturing Jesus. He then has to feel the whip and the crown of thorns in reality. As a test object for the new Ludovico method, any thought of violence is made impossible for him. The new Alex experiences how one is treated as an innocent.