Arquivo

Berlin at the end of World War II. Within the context of the Nazi regime, aged conductor Wilhelm Furtwängler is a personality of extremely ambiguous activities. If, on one hand, he was on good terms with the Nazis, and was appointed Vice-President of the Chamber of Culture by the much feared Goebbels, on the other, his concerts were considered strongholds of the resistance. He used his influence to incorporate Jewish musicians into the orchestra who would otherwise have been sent to concentration camps. The fragile balance of the situation is definitely shaken when Steve Arnold, the implacable U.S. commander who can not dissociate arts from politics, is encharged with holding the inquiry that will try to establish a connection between the maestro and the Reich. In the manichaeistic vision of the world by Arnold, Furtwängler is to be the perfect example in the painful process of acting as a scapegoat for collaborators.