The film embraces several levels enrolled in the display of the ›photographed performance‹ or ›performed photographs‹: The first level documents the moment of Samsonow‘s and Teller‘s chronotopical actions (footage of the Munich performance) The second level cuts up and develops by visual filmic means the main topics in a labyrinthic structure: deep time/ individual time, the ›apparatus‹, eroticism of the gaze, techniques of sub- jectivation, highlighting presences by annihilation or paradoxical construction of performativity and time, psychotic confusion of things and affects. The Bedroom/ bedsheets equivalent to a screen displaying historical photography (the site/ Maximiliansstrasse München 1930 showing Nazi gatherings juxtaposed to soft pornographic photographs from around the 30s)