[1] Set in 2059, it is a contemporary interpretation of Johann Wolfgang von Goethe's 1808 Faust and the first film directly based on both parts of the tragedy.

God, believing in humankind, says that Mephisto cannot corrupt Dr Faust, a faithful scientist and CEO of Winestone Inc, a Silicon Valley company.

His attempts are successful, Faust’s desire to emulate God and create a superhuman is so strong that he agrees to exchange his soul for unlimited access to knowledge.

However, Mephisto, the mischievous devil, tricks Faust and exposes him to carnal lust instead of giving him access to so greatly desired knowledge.

Unperturbed by this tragedy Faust, still full of carnal lust, demands to meet Helen of Troy, the most beautiful woman ever known, who he had seen in a vision.

[4] As Dr. Goodfellow finishes the story of Faust, Paris stops recording and sends it off into the cyberspace where it is safely stored in a time capsule for future generations to discover.

[5] The film was part of a bigger project – Humm’s Gesamtkunstwerk (also called The Last Faust), a total works of art with over 150 artworks, including an illustrated novella, and a collection of fine-art photos, sculptures, pencil drawings, and paintings.

[1] The locations, being primarily photography tailored, were not fully sound proof and the film team had to work around external noise issues, ice cream vans in particular were a funny nuisance.

To make such an intense production schedule possible, Humm reverted to projections and lights with few iconic, theatrical props, instead of extensive set-building.

The team set up a massive projection screen at the rear of the film studio giving the movie a strong sense of a theatrical performance.

To begin filming the second part of the script, in August 2018 Humm recruited Ellen Elkin to rework the narrator text that he had written.

[16] The film was shot on Blackmagic URSA Minipro with Hanse Inno Tech Celere HS, and a P&S anamorph zoom 35-70mm lenses.

[16] The music in The Last Faust is inspired by Richard Wagner's piano tracks and was composed and produced by Florian Siegmund / HAUS Building Sound.

Remaining music sequences, such as Yello songs, and sound effects were recorded and mixed by Felix Sievert / Concord Audio in his Hamburg studio.

Goethe was a jury member in a similar case and approved the death penalty for a young girl who gave birth outside of wedlock and later killed the child.

Goethe references the creation of the Holy Roman Empire in the 13th century where the four princes electors (Saxon, Bavarian, Swabian, and Frank) and the archbishop of Mainz were electing the Emperor, who would then receive the Papal coronation.

[17] Stuart Jeffries wrote in The Guardian that "Certainly, Humm’s adaptation tackles sexual harassment, artificial intelligence, the troubling ethical ramifications of technological innovation, the stuff of a million comment pieces.

"[15] and Stewart Clarke in Variety noted that the presented topics speak "to the modern relevance of Goethe's interpretation of the German legend".

[22] Review by Suzi Feay from Financial Times was featured as a 'pick of the week' and described the movie as outlandish and grandiose,[23][24] while Jo Good referred to it as "something you absolutely cannot miss" on BBC Radio London interview.

In other words, this feels more like a museum piece than a movie, designed to tease and confront the viewer rather than to recount a coherent story with empathetic characters.

[30] Wendy Attwell from Set the Tape gave the movie 3 out of 5 stars and wrote "It’s a fascinating interpretation, and one that no doubt will be foist upon students of literature and theatre for years to come, confusing as much as enlightening them".

Ulrich Bierman in the radio interview for Deutschlandfunk said that the movie is a total work of art,[33] and Hans-Georg Rodek from national newspaper Die Welt praised Philipp Humm for the use of expressionistic backdrops and doing what no director has dared to do yet.