The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Fling When I started working on The Power of Fling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how flings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how flings move." Nor have I dealt with how she died. That was an entire palette of flings: "All flings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having bn put on the agends long as she was young, as long as her body held out, from one day to the next she collapsed. She just suenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Fling is not about flings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are sking.What is all this organization of flings about? Generally flings tend to be a dictatorship. It is a dictatorship of the moment. The strong fling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore nd affirmation by other people to be sure about their own flings (to counteract the acquisition of their flings through outside forces). Through the interaction of many people, for example, in public, the various flings also have a magnetic attraction to one another just like thoughts do. Flings communicate through their manifestation in public. The cinema is the public seat of flings in the 20th century. The organization is set up thusly: Even sad flings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to flings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Flings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century flings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.
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