A young audience member recently phrased it like this: „In the movie it is as if a stencil is suddenly taken away. This stencil is the behavior of adults and their view of the world. Children and young people suddenly emerge from underneath: Everyday life now proceeds according to their structures. Like a pattern that was actually there all the time and that you could just not see under the stencil.“

The world of CaRabA is located in the peculiar sphere between fantasy and reality. Though the plot always moves within everyday life, its portrayal leaves our familiar here and now time and again: The dialogues are kept casual, but often sound poetic or even philosophical. Items that look like they belong to a bygone past are used in futuristic buildings. Ancient vehicles drive through modern city centers with the utmost naturalness and transport business travelers with the same diligence as children, well-read retirees or the homeless. Warm sunlight falls through scratched windows and then, turning cooler, immerses itself in sleek, oddly cubist concrete walls. After twilight, neon blue pulsates through nightclubs and chemistry labs before it meets the warm candle light and bright lightbulbs of homes, just a few feet away. Pigeons flutter, bicycles squeak, voices echo through empty museums. Antique pendulum clocks swing their way through dreamy electronic music passages ... Who wakes whom? What is old, what is new, what is appropriate?

One could assume that a film that lets children and adolescents take responsibility for their lives automatically has to move away from reality. At the same time freedom and responsibility rate among the most difficult and essential tasks! Anyone expecting a rosy world full of smiling people in CaRabA will be disappointed. The young protagonists deal with their living conditions in a quite serious and focused manner. All of them are characterized by a certain incorruptibility in their actions and judgments, which means that they do not make it easy for themselves. Nevertheless, they always remain playful, find creative ways, seek contact with others.

The fact that the protagonists do not have to go to school is at first not clear in CaRabA. Why then is it still considered essential to the elimination of the „adult stencil“? The school system (in its form as "duty" for which non-compliance equals a criminal act) is only one of many social and value systems based on the assumption that a high degree of individual freedom is harmful to a civilized coexistence. Nevertheless, it holds a special significance, precisely because it is the first of these systems, at least in a closed and institutionalized form, which a young person has to face. So that he can - ultimately - succumb or resist, whereby of course there are countless middle ways between the two extremes. In my view, however, no system should be more valuable to us than a living person, especially a young one with hopes and freedom to develop into himself. After all, a person knows best what he dreams of and where he wants to go and what he has to learn to achieve it. And this also includes when, how and with whom he can learn all of this.

CaRabA shows us to some extent: It is anything but easy to choose a self-determined life. But - and the movie portrays this - it will always be worthwhile! Because it leads to the emergence of youthful, curious, unbiased and endearing - in short: living - patterns that have the potential to change our society in the best sense of the word.