Judith is a maverick reporter who is also seeking a satisfying relationship with various men. She finds corruption and power-games everywhere.

Ein verheirateter Mann mit drei Freundinnen scheitert an seinen Rollenvorstellungen, während seine Frau und eine Geliebte, beide schwanger, sich solidarisieren. Die unnatürlich klingenden Dialoge und optischen Verfremdungen sind zwar streckenweise wirkungsvoll, erschweren aber insgesamt dem Zuschauer eine Identifikation mit den dargestellten Charakteren. In seiner Tendenz ist der Film zu plakativ.

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

Anna, an artist, is obsessed with the invasion of alien doubles bent on total destruction. Her schizophrenia is reflected in the juxtapositions of long movie camera takes with violently edited montages: private with public spaces; black & white with colour, still photographs with video, earsplitting sounds with disruptive camera angles. Anna uses her body like a map; after a devastating quarrel with her lover, she paints red stitches on herself. Watching their scenes together, we realize how seldom, if ever before, the details of sexual intimacy have been shown in film from the point of view from a woman. Export privileges rupture over unity and never settles for one-dimensional solutions