The title of the film promises a story. But it is not only what is told, it is also the process of the telling which is important. This process results from the interaction of several planes of narration. An experiment known in the history of film should make the method clear. Lev Kuleshow edited a shot of a pensively gazing actor together with shots of a half-naked woman, a child´s coffin as well as other shots, so that each of these different combinations produced a different impression of the man. What was primarily a psychological experiment for Kuleshow also contains essentially the form of film narration that I intended. It consists however not in the montage of single shots but rather in a montage of plots which have nothing to do with each other. They are interwoven, thus creating another plane of narration which emerges originally through the montage but ultimately adopts its variable form only in the mind of the viewer.
Two women who speak to each other in an artificial language, working men in a pub who speak dialect, patients of a psychiatric hospital who express themselves through improvisation - all of these diverging portrayals communicate not by interlocking but by touching each other. Communication as closeness.
The disparity does not only dominate as a formal principle between the scenes but also in the context within the scenes as isolation and decay, as dream and ardent desire. When in the midst of chaos a flash of unexpected harmony and order bursts forth for even an instant, it creates poetry in art and assures moments of survival for the isolated individuals.
All of the seperate strands of the tale lead into the night - whereby we do not think of the time of day so much as of a state of mind. Just as the night isolates everything and in its isolation intensifies and accentuates it, the night also links and covers everything up in the same manner. Benighted by the night, it shows what it conceals. (H.S.)

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