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.

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.’

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.

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。

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