Gypsies were the romantic element in Maholy-Nagy’s Hungarian childhood. Europe’s vagabonds were nearing extinction when Moholy-Nagy shot this documentary as a last memoir. The director handled his camera instinctively and experimented with focus and light and darkness, so-called “Kamera-Wahrheit” (camera truth). This technique was well demonstrated in one of the gypsy scenes. The scene showed a gypsy woman picking a fight with her sister-in-law and the female leader of the camp. Moholy-Nagy did not use the conventional camera techniques, and instead shot the scene from the air, above the fighting women. More famous scenes included shots of people watching the clouds roll by in the pouring rain, of the sounds of fiddles and zithers and the mutual magnetic attraction that finally crystallizes into a dance.