'We should no longer paint interiors with men reading and women knitting. We should paint living people who breathe, feel, suffer and love.' This manifesto, written in 1889 by the twenty-six-year-old Norwegian artist Edvard Munch, was implemented by him throughout the 1890s in major works on the universal themes of love, anxiety and death, linked in a 'symphonic arrangement' he titled The Frieze of Life. Shot on location in Norway and from original paintings and graphic works, the commentary is mainly drawn from Munch's own writings.