What happens in a person permanently trapped in the destructive loneliness of constant self-comparison? How does a person who fools others with neoliberal dreams just so they do not have to give up their own feel? This bittersweet, cheerfully tense musical by Niki Lindroth von Bahr pulls us into the masked nervousness of modern society with humour, singing and dancing.

She opens her arms wide: “I want to go home, do my dreaming.” Crossing from an unbearable reality to the world of magic sometimes takes only the snap of a finger, sometimes several press-ups. Gudrun Krebitz’s poetic combination of video and animation recommends pushing the gravestone aside and descending into one’s subconscious: with overpaintings and superimpositions.

An abandoned amusement park offers a secret real-life retreat for young people in Casablanca. They escape their restrictive society digitally into the Internet to soak up international trends and amplify themselves. A camera floats through the tableaux vivants they have formed. Their eyes are frozen, the self-chosen poses seem undead.

The gaze follows a line of trees and tries to visually order near and distant branches. A jumble of lines sketchily leaves behind what is and sketchily captures what can be assembled from the remnants of perception. Hand-drawn lines conquer the third dimension with digital crackling. A pylon waves its tentacles.

A film projection shows a woman sitting by the water. In “her back” is the shadow of a female figure who conjures radiant golden clouds of dots and balls of lines into the frame with her hands and is even able to blot it out. The magical trailer for the “Tricky Women” festival was made by manually editing the image and sound sequences recorded by Moïa Jobin-Paré when she was artist-in-residence in Vienna.