Bernard, a stoic middle-aged writer, lives a highly structured life in a penthouse overlooking Cologne, along with a sheep.

When his father, with whom he maintains a very close bond, ends up in the hospital after a robbery, his already shaky reality is on the verge of collapse. What follows is a series of mysterious encounters with his unstable girlfriend Agatha, unpredictable neighbors and the police, and finally, a two-meter-tall grasshopper. In his second film, The Kiss of the Grasshopper, Elmar Imanov sketches a dark, increasingly mysterious quest through loss, grief, and unexpected compassion. The story unfolds like a mysterious tapestry, a symbolic minefield overrun with displaced people, events, and objects whose immediate meaning is not always evident, but whose power and relevance are all the more palpable. Like a fascinating visual world governed by the logic of dreams, in which the rational casually merges with the bizarre. The result is a work that continues to amaze, confound, and challenge.