Yes? Oui? Ja?

In a voiceover Stan Brakhage articulates his resentments about the use of computers for art production and in general. This comment is contrasted by video imagery turning more and more abstract until it bursts into a sea of square pixels. The video is an ironic illustration of Brakhage's views as these "defunct" images reveal a kind of beauty of their own.

Found footage film dealing with important aspects of life & death. The film begins with a kind of trip into film as such, leads to sex which then causes birth and raises the question what to do with one's life (for example commit suicide), the film shows also other opportunities like car racing, film-projecting or having sex and eat, dissapear into the abyss of the universe or beat up somebody. All these thoughts lead to nowhere. In the very end the film seems to make obvious that love and the cycle of life and death are as senseless as the attempt of trying to understand them or the film or the world.

The film is structured around the mystical idea of the mandala, in this case pictures of (fake) suns, galaxies and planets. These images are in sync with an Indian Bollywood song to enhance the pseudo-psychedelic effects. The film material covers a very wide range of found footage from various sources and decades from the Thirties (invisible woman) to the end of the 1980s.

Vienna’s unique Church of the Most Holy Trinity, a walk-in sculpture by architect Fritz Wotruba, is reconstructed into a new narrative through the assemblage of photographs.

Freude is a film trying to mimic a visual orgasm. It’s trying to have sex with your retina.