젊은 역사가 엘리자베스는 19세기 사회주의자이자 페미니스트인 플로라 트리스탕이 활동했던 리옹으로 여행을 떠난다. 엘리자베스는 트리스탕의 발자취를 따라 마을 이곳저곳을 돌아다닌다. 그는 트리스탕이 들었을 소리들을 작은 카세트 녹음기로 재구성하여 소리와 소음으로부터, 도시의 표면으로부터 역사의 단면을 드러내려 한다.

In an experimentally compiled film review, Danielle Jaeggi, Paule Baillargeon and Claudia von Alemann reflect on their work as filmmakers and life as mothers. Just as the title is based on Michel Leiris' book of poems Bright Nights and Many a Dark Day, the film has its own poetry, which is also evident in shots of everyday activities, such as hands washing dishes. “Just the hair or the relationship of the hands to each other or gestures, and then words come in between and film clips that we talk about, and we were amazed to find that the women we portray in the films always have a lot of trouble with theirs Identity, their search for something, for lost people or lost things. “They are usually looking for something that has been lost, forgotten or gone,” said Claudia von Alemann in the 1992 interview conducted by Renate Fischetti, A Pioneer of Female Film Language. An essay about desire, doubt, contradictions. (fib)

A portrait of photographer Abisag Tüllmann (1935-1996). Abisag Tüllmann’s photographs have become deeply engraved into our cultural memory. Using more than 500 black-and-white photos, all of which taken by Abisag Tüllmann, this cinematic tribute places her life and work in the context of the 1960s to the 1990s. Claudia von Alemann tries to get close to her friend via pictures and archival documents, excerpts from films by Carola Benninghoven, Helke Sander, Alexander Kluge, Günther Hörmann, and Ulrich Schamoni, via the music of composer José Luis de Delás, and via letters and memories, such as those of photographer Barbara Klemm, who still vividly remembers her former Frankfurt colleague.

This film painstakingly documents the ways in which women are devalued as workers in a patriarchal society