Heimlich is not characteristic of film noir because it is a black-and-white American crime or detective drama but, rather, because of its dark, downbeat look at the life of a young married couple. The woman is pregnant and from the look of things may not be a faithful, loving wife. The husband has been consumed with life outside of his home to the extent of not even noticing that his home life is a wreck and that his house, in so many words, is falling apart. This self-reflective, German critical theory-based short is replete with symbols, particularly of birds (symbol of freedom). This film delves deeply into Sigmund Freud’s concept of the ‘uncanny’ because the man we see at home (Heimlich) is not the same as the doppelgänger we see at the beginning and at the end of the film (Unheimlich).