Klara forms part of the genre of film which, along with Pezzella's Mia Zia or Thomas Feldmann's 2 Chinesische Zeichen, announce a particularly intense level of work due to their very brevity.
Geiger's base material is shots of gestures, bodily movements and facial expressions. The somewhat antiquated atmosphere of an afternoon piano recital in a private space assumes, through the coherent editing and weaving of the images and the richly referential sound, a movement which cannot be defined as being elegant. A sequence of gesticulating hands moving in time with the piano music: the moment is firmly imprinted on the viewer's memory due precisely to its elegance. The out of focus image of a black object being crumpled up and the sound inserted by Geiger, a delicate sigh which suggests the viewer's erotic thoughts, has an unexpected effect, shocking in such a bourgeois environment.
The (tactile) sensuality of this extremely brief movement is reminiscent of an image from Brakhage's Sexual Meditation in which a female foot rests on an enormous pink bedside rug.