In August 1928, while workers and farmers were searching for answers to some mysterious vampire bite marks in Capital, a man claiming to be a baron entered the life of the charming heiress Flambow Jansen and her luxurious residence in the Baltic Sea. It has been proven that he was actually a proletarian swindler who was forced to flee the Soviet Union due to a political event involving Sergei Eisenstein and Stalin himself. Julian Radlmaier takes his iconic "satirical materialism" a step further, combining ideology and film fetishism to create a dialectical allegory and formalistic comedy. He believes that Marxism's portrayal of capitalists as vampires is far from metaphorical. Although the entire film is characterized by historical inaccuracies and highlights the current relevance of the theme, it is the ending that suddenly shifts towards manipulating reality and xenophobia, which truly emphasizes how injustice and lies prevailed then and now - just more so than ever before. The oppressed continue to steer class violence in the wrong direction, once again reaching their necks towards the fangs of the oppressor.