Is it necessary to write to a set plan, follow strict logic, or is a strong urge enough to produce a work of art? Through Moritz, the Gallery manager, we come face to face with creative artists’ problems: first of all, questions which Botho Strauss asks himself, then those which Philipe Van Kessel poses and answers in his staging, and finally those of the film-maker in the cutting and arrangement of the scenes Gerald Frydman has chosen. Twenty minutes or so to discover the greatest living German playwright through the latest of the Rue Sainte Anne Theatre Workshop plays – and a Belgian film-maker’s view of theatre. Gerald Frydman, well-known for his animated cartoons, whith two Cannes awards to his credit, has now made his first documentary, which he describes as an essay in cinematography: an interpretation and analysis of Botho Strauss’s Trilogie des Wiedersehens via a filmed version (the camera used subjectively) and associative editing of extracts of the play shot during rehearsals, and also during the first night.