The Soundmaker consists of three projections. While the two outer ones show a soundmaker from two different camera perspectives in his cramped, improvised sound studio, the centre projection shows the scene for which the sounds are being made. The actor in this film sequence – the same person as the soundmaker – is stacking all the furniture on top of each other in the middle of his one-room apartment. The assumption that the film is about a filmmaker who is making the sound for his film with the simplest available means begins to waver as the two protagonists suddenly leave their room for a moment and disappear from the camera's view. It seems as if the two had exchanged places. Is the soundmaker now standing in the apartment and the other person in the sound studio? Why is the person in the apartment carefully putting the stacked-up furniture back in its place? It suddenly also seems unclear whether the action is determining the sound, or if it's perhaps the reverse. More and more, the familiar becomes surreal. Rosefeldt here makes use of the cinematic process of dollying, travelling the camera slowly forward and back. He almost completely refrains from narrative cuts. So his protagonists appear inescapably caught in the absurd circle of their monotonous actions. Both The Soundmaker and Stunned Man (the second part of the Trilogy of Failure) […] may be interpreted as philosophy in moving pictures. Complexly and with satiric wit, they revive the existential myth of Sisyphus and reflect on the medium itself.