Abstract
abstract: Nicolette Krebitz's Wild (2016) depicts the un-disciplining of a woman who frees herself from the constraints of society by following a wolf into industrial ruins after she first catches, imprisons, and attempts to tame the wolf only to then set it free. Even though Wild critically questions whether Germany can serve as a Heimat for subjects that capitalism and its consequences alienate, it does so by implicitly and explicitly engaging with gender roles and stereotypes inherent in the genre of white German Heimatfilme .