"Studie II (Hallucinationer)" (Study II (Hallucinations)) (1952), comprises twelve staged scenes that were modelled after a set of drawings. Accompanied by metallic sounds, various body parts, limbs and objects form surrealistic collages against the background of a black space. Peter Weiss intended to create associative images that can not be deciphered completely. Beyond any logical interpretation, he wanted to show pure inner feelings.
A man visits a woman, speaks, smokes, eats fruit and walks out again. Clothes appear on hangers before they one by one disappear. There is a sense of disgust surrounding the actions and the actual meeting.
Rondo may be perceived as an improvised stylistic exercise set to music. It was made with a statically fixed camera. Bright colors run together on a rotating disc. New layers of colors emerge and disappear according to chance. Patterns are formed and are followed by new shapes to the sound of the music from the loudspeakers. (Filmform)
"The White Hands" - 'I came to film in my capacity of poet, wanting to see whether I could express myself in pictures rather that in words-create a film poem. Not a traditional piece of lyric but something that suggests and hints and transmits its content even though it may not be comprehensible in a logic sense'. This is how Rut Hillarp described her film interpretation of the legend of Tristan and Isolde. She borrowed this classical theme from her collection of poetry The False Farewell. The White Hands is an attempted surrealistic visualization of a poem, using symbolic image sequences
