Beginning with a shot of a man’s head (that of the filmmaker) which turns slightly to face the viewer, Siegfried A. Fruhauf alters the film in a number of steps. The picture dissolves into its grain, digital crosshatching or self-reflection, concluded by reworking in the style of drawing and painting with oil applied thickly and gesturally: The gaze into the camera—the faux pas which ruins the classic fiction-film shot—is visually disassembled, as a result of which this ur-scene of a break with fiction begins to decompose in a rhythmically eloquent manner. In all these variants the head is repeatedly dismantled into material textures that form a kind of formal structure underlying the concrete object.