Most likely, one knows of this movie through Leth's collaboration with von Trier. But it will be rewarding to place the film in his own oeuvre, particularly in relation to his documentaries and poetry. "There was no story line. It was like an observation of life. It was definitely very modern. It was more related to my poetry than my other films. I made it also in a reaction to the conventions of the documentaries films as I said before. I wanted to have a pure kind of language. I was inspired by commercials and publicity films, which are sometimes working with the isolation of objects and persons in an empty space." "To further the notion of painting : it moves me and touches my heart to see Picasso return to one single motif hundreds times. Like in his high age, he’s eternally repeating the motif of the artist himself, working, observing or painting the model, a woman. He could paint this hundreds of times without repeating himself. I think for me it’s the ultimate that you can still find a motif so revolting to get back to, and to find new meaning. This was clear when I did “New Scenes from America” some years ago, when I did the impossible act of going back to the “66 Scenes” and to exactly the same places, and in some cases, looking at the same people again. Sometimes it’s very risky business because the first film was declared a classic. " --interview with Sylvie Lin cite: https://sylvielin.wordpress.com/2010/05/03/interview-with-jorgen-leth/