Les Mollies is a queer-feminist community living in a caravan camp located in a garden in an industrial area on the edge of the Ostkreuz district of Berlin. It is summer and the community is about to be evicted, so we witness the end of a project of life and coexistence. Bosnian-born filmmaker Dane Komljen immerses us in this ecosystem in transition, an enchanted, vulnerable and sensitive forest that acts as a refuge and a mirror for the people who occupy it. Meals, naps and meetings reveal the life trajectories of the Mollies who, like the space they inhabit, are fluid personalities in transition, both internally and physically. The lethargy of the summer evenings and the delicate nature that makes its way into the common areas submerge the space and the characters in a new category of fantasy. The end is near and the Mollies recapitulate, where they have come from and where they will go, with a natural melancholy that is typical of those who know well the states of metamorphosis, of those who know and accept that cities, like people, flow and mutate. The ghost of gentrification is barely glimpsed, although it is there, and it is perhaps at that moment, when looking at the cranes that must be building something new over what they have previously destroyed, that the film remembers a mother's dress that someone wore in a very long summer, as lazy as this one, reaching its highest levels of nostalgia and finally telling us about some lost loves that we will always wait for. NURIA CUBAS