There’s something particularly compelling about a film that arrives when we’re all wondering what comes next—and Wovon sollen wir träumen (which translates to “What Should We Dream Of?”) is poised to ask exactly those kinds of questions when it releases on February 19, 2026. Directed by Constantin Hatz, this German drama is already generating quiet but genuine anticipation in industry circles, not because of massive marketing campaigns, but because of the creative intention behind it. With a runtime of just 90 minutes and backing from notable producers including ZDF and Riva Film, this is a film that’s clearly designed to say something meaningful rather than sprawl across three hours of runtime.
What makes Hatz’s vision for this project so intriguing is the casting itself. Luise Aschenbrenner, Bayan Layla, and Lea van Acken form a remarkable ensemble—three actors with distinct approaches to character work who are each bringing serious dramatic credibility to their roles. Aschenbrenner in particular is emerging as one of the most promising talents in contemporary German cinema, and her involvement in Wovon sollen wir träumen alongside her other 2026 projects signals that she’s being positioned for significant roles that explore complex interior lives. This isn’t peripheral casting; these are performers selected because they understand the nuance required for intimate character drama.
The film’s thematic concerns seem to revolve around aspiration, identity, and the collision between individual desire and social expectation—all implied in that provocative title. What should we dream of? It’s a question that cuts to the heart of contemporary existence, especially for younger generations navigating uncertain futures. Hatz appears to be interested in how these characters navigate that tension, and a 90-minute structure suggests an economy of storytelling where every scene carries weight.
The production itself carries the fingerprints of serious artistic ambition. This isn’t a film designed to chase trends or maximize box office returns; it’s being crafted as a statement piece that will likely find its first audience at festivals before expanding into broader distribution.
What’s particularly interesting about this project is how it fits into the larger ecosystem of German cinema in 2026. The selection of Wovon sollen wir träumen as part of Germany’s festival submissions and international campaign strategy indicates that industry gatekeepers see real substance here. This is a film competing for attention in a crowded landscape, yet it’s building momentum through critical recognition rather than celebrity-driven hype.
Constantin Hatz’s directorial approach seems defined by restraint and psychological depth. Rather than relying on manipulative techniques or baroque cinematography to tell his story, he appears to trust his actors and his material. That’s a bold choice in contemporary filmmaking, where spectacle often dominates. Working with a 90-minute window and these particular performers, Hatz has built something that prioritizes clarity of emotion over aesthetic flourish.
The ensemble dynamic between Aschenbrenner, Layla, and van Acken is worth considering more deeply:
- Luise Aschenbrenner brings a naturalistic intensity to her roles—she doesn’t perform so much as inhabit characters
- Bayan Layla and Lea van Acken are both known for their willingness to explore morally complicated terrain without softening their characters for audience comfort
- Together, they create the possibility for complex group dynamics rather than simple protagonist-antagonist structures
One interesting element worth noting is the rating situation—the film currently carries a 0.0/10 rating on various databases, which is simply a reflection of the fact that it hasn’t been seen by public audiences yet. This is less a statement about quality and more a reminder that Wovon sollen wir träumen exists in that anticipatory space where potential hasn’t yet crystallized into proven achievement. In some ways, that’s liberating: the film arrives with no preconceived reputation, no viral moments, no predetermined critical consensus waiting to constrain interpretation.
The support from ZDF and Riva Film is significant in another way too. These are institutions invested in narratively sophisticated German television and independent cinema. They’re not betting on spectacle; they’re betting on storytelling that resonates with viewers hungry for genuine human drama rather than comfortable escapism.
What conversations might this film spark once it reaches audiences? Likely discussions about:
- What we’re encouraged to aspire toward versus what actually fulfills us
- How friendship and intimacy function under pressure
- The role of societal expectation in shaping individual identity
- How young people construct meaning in uncertain times
The film’s title is deceptively simple, but it’s also the kind of question that lingers after the lights come up. It’s asking us to examine our own dreams, to interrogate whether we’re dreaming our own dreams or dreams inherited from others. That’s the work of serious cinema—not entertainment (though good drama can certainly be entertaining), but genuine artistic inquiry.
When Wovon sollen wir träumen releases in February 2026, it will arrive as a complete artistic statement from Hatz and his team. It’s the kind of film that matters not because it becomes a cultural phenomenon, but because it does precisely what meaningful art should do: it holds up a mirror and asks uncomfortable, necessary questions about how we’re living and what we’re working toward.
