Refreshingly, Farocki lays his cards on the table at the very beginning of the film, "I want to demonstrate that most feature films are of the sort that make people lose their interest and appetite for the real world".

Farocki's demonstration is, again refreshingly, free from the posturing of a 'semiotician' lifting the veil surrounding the conceptual mysteries of some private media theory (the examples are frightening); he shows what he wants to show by posing very simple, sometimes seemingly banal questions: Why must a sequence of two minutes and seventeen seconds show 13 locations, and why should the narration contain 25 statements? Why do feature films have to be so 'dynamic', so 'alive', so 'full of variety' that, faced with so much 'vitality', the statement expires?

(Frank J. Heinemann, 1973)