The conflict between freedom and security underlies Marco Schmitt’s film, for which visitors have special access to a Zurich police headquarters. Schmitt’s template was Luis Buñuel’s surreal masterpiece El ángel exterminador (The Exterminating Angel, 1962), where guests at a dinner party feel themselves, inexplicably, to be trapped in a room. The macabre metaphor from Franco-era Spain is not lost in present-day Zurich, where the crime museum with its renowned collection of weapons, is the claustrophobic setting for the drama. The police officers who took part in Schmitt’s method acting workshops can be seen, however, to enjoy the comic relief from their professional personae.