More than words: Rosefeldt examines not only the concerns addressed in the manifesto and its author's intention, he also explores the connection between what a person says and what a person does, exemplified here by the scientist who quotes from Kasimir Malewitsch's "Suprematist Manifesto."

A startling contrast to the CEO spouting the words of Kandinsky and Marc in their "Preface to the Blue Rider Almanac," this tattooed punk contemplates creationism while seated in a pub. Often, the texts do not match the images; the words spoken may be done so internally, a monologue that creates tension as it represents a character's inner struggle while she goes about her everyday business.

Drawing the viewer in through its use of relatable female characters, the film portrays the unique conflicts that its characters face and creates tension as we see them take actions that diverge from our expectations due to their inner monologues. It's a spot-on narration of the ways in which internal grumblings spark into the flames of a critical manifesto.

Sol LeWitt's "Paragraphs on Conceptual Art" is just one of the manifestos read aloud in the installation, in this case by a well-groomed news anchor. "All current art is fake, not because it is a copy, appropriation, simulacra, or imitation, but because it lacks the crucial push of power, guts and passion," she declares later, quoting Sturtevant in a sharp tone of voice.

Australian actress Cate Blanchett dons the guise of 13 different characters who recite and even sing these manifestos: a homeless man, a teacher, a broker, a tattooed punk. At its height, the film unites all the charcters to one single orchestral sound.