Expanded cinema: ‘As always, the screening takes place in the dark. Only the movie theatre has become a bit smaller. There’s only room inside for two hands. In order to see the film, meaning in this case to sense and feel it, the viewer (user) must guide his or her two hands into the movie theatre by way of the entrance. With that, the curtain, which up till now was raised only for the eyes, is finally raised for both hands too. The tactile reception stands against the deception of voyeurism. For as long as the citizenry settles for the reproduced copy of sexual liberty, the state is spared the sexual revolution. “Tapp und Tastkino” is an example for the activation of the audience through new interpretation.’

本片回顾了被称为“行为艺术教母”的奥地利女性主义艺术家艾丝波特由六十年代末的争议对象成为当代艺术偶像的历程，展示其多样艺术形式的同时重点反映她以自己的身体为艺术对象传递的女性自由的政治斗争信息。对包括阿布拉莫维奇在内的友人同事的采访和耶利内克的撰文则提供了解读对象的私人与艺术视角。（豆瓣电影字幕翻译2.0小组）

奥地利女艺术家瓦莉·艾丝波特执行了触摸、拳击、感受、聆听、品尝、推和行走七组行为呈现普通日常活动。每组动作均以字幕卡展示即将被视觉化的对应动词开始，其方式类似于思想教育片的教学技巧。艺术家面对镜头表演——以舌头舔玻璃板来展示“品尝”，将耳朵紧贴在玻璃上来传达“聆听”——在此，所用到的透明玻璃作为居中的投影平面强调着身体和摄影机的分隔。通过身体和媒介共同执行的动作对语言所展开的联想，表演的空间结构同时与对表演的感知相分离。 在放慢运动过程的情况下，影片提出了关于图像感知的问题，同时研究语言和运动影像之间的交流。艺术家调查电影作为屏幕投影之外的可能性，也令观众摆脱被动的观察者角色，成为合作者。