Schroeter’s first feature-length work is an exuberant outpouring of his love of music, as he presents a string of recordings, from opera to pop, and his love of cinema, as he stages a series of scenes unrelated to each other but meant to illustrate the music. The film proceeds in a kind of dialectic manner, with images sometimes serving to “act out” the music but other times independent from the soundtrack, which itself lurches from “high art” to popular culture. The juxtaposition of high and low demonstrates that both contain the same emotional expressivity and hence both can claim the status of art. Throughout it all, Schroeter’s game cast of friends – including Magdalena Montezuma as both Tosca and Rigoletto – loves, fights and dies, over and over again.