If there is such a thing as a family memory that carries forward over the course of history, then it determines the actions of every generation. The director tells the story of the women in her family, set amongst Walchensee, hippie dreams and the commune surrounding Rainer Langhans.

My mother will die. Jutta interprets the diagnosis of an incurable cancer as a spiritual crisis. Accompanied by Rainer Langhans, to whom she has a deep friendship since over 40 years, Jutta travels to India and goes on the search for a healing experience from within.

Documentary about the twin sister Jutta and Gisela Schmidt. In the late sixties the two women rebelled against middle class society as if they gave vent to a new kind of art. They became active in the underground communist party KPD and showed a heart-felt interest in the colour red, the aesthetics of the revolution. Soon, though, the twins quit their experiments in Germany. They left their husbands and went to Rome, where they met the fabulously wealthy Paul Getty III, and soon things got really out of hand.

1984: Scientists and a group of cultists discover intelligent beings in space. The initial effects of their alien biological order are terrible. The doctors are at a loss. But despite increased security measures, life still goes on. "Beings from another star? - That's ridiculous!" The show must go on. Two attractive young girls rehearse a dance for a commercial, but the recording equipment goes on strike. Filming is finished. Full of optimism for their future, the girls travel to a theater director's hotel. However: "Mr. Goldwine has been missing for three days. Only his luggage is still here." Tina, who painfully remembers her last love, is brought to her senses by the cool, blonde Doris. Now it's time to take a deep breath. Strangely, the flowers in the window box have withered. Fluorescent stones glitter instead and are picked up hypnotized. The UFOS break through the earth's atmosphere. People are carried off by rays of aggression.

Combining fictional and documentary modes, the film takes a critical stance toward Frankfurt's public sphere and urban redevelopment. Despite the serious formal and political concerns of the film, Kluge's heightened sense of the absurd safeguards a reserve of utopian optimism.