On the surface, the life of the German Charlotte seems ideal: a handsome husband, a son and a doctor’s job in Brussels. Nevertheless, she surreptitiously rents a hotel room where she has sex with some of her male test subjects. Her extramarital flings have nothing to do with outward appearances or scorching passion; the hotel room almost seems the setting for clinical experiments. Her poker face betrays next to nothing about Charlotte’s motives; in this minimalist triptych that is eventually concluded in India, it turns out her intentions are not only a mystery to her husband, but also to herself and the spectator. In her fourth film, Nanouk Leopold again analyses human relationships, with sparse dialogues and very accurate shots, in which the environment and architecture are a continuation of the characters. The questions raised are more important than the answers: Brownian Movement wittingly leaves interpretations to the audience.