"“​What I’ve really got to learn is to accept the mediocrity and the lies that surround me. The poor political responsibility of those around me​.” Valie Export is one of my favourite artists and celebrated her 80th birthday quite recently. The film follows an investigative female journalist trying to bring justice to the corrupt world she finds herself in through two oscillating relationships. The heroine is in pursuit for nothing but the truth. Video control and surveillance in striptease places, subway stations and street traffic are important for the structure of the film. At large, the experimental plot interrogates the body, identity, and dynamics of power, it questions the overwhelming social gazes placed on women. One day I would like to remake the film."

"Not actually a “spiritual” work at all (if only someone could define terms like that for me), this is the first truly great film about institutional oppression (forget the Soviets’ chockablock puppeteering and jigsaw manipulations), a subject that always manages to give a film with this much passionate force pertinence in virtually any age and political climate. It took me years to realize—and this is all the props George Lucas will get from me at this late date—that Dreyer’s film is in fact an abstracted dystopian horror film, a point Lucas made by remaking it as THX 1138, right down to the shaved skulls, white-on-white compositions, inarticulate victim protagonist, looming totalitarian machinations, and semihopeless action finale."