Kritiken

In Farocki's film we get disturbingly close to the friendly face of modern capitalism where affectivity as well as labour time is what is being extracted from workers. No longer based on overt exploitation, contemporary corporatism hides itself behind the satisfaction of our desires.

In the context of Farocki's fascination with the sterile imagescapes of military and corporate worlds, it can only be entirely just that to expose the gesticulating, moneyed hollowness of contemporary "corporate culture," as it is called in the film, his own work must take on the qualities of which he is critical. And so what better way to reach infinity then by turning cinema's images upon themselves, and reveal a mirror reflecting a mirror?