I totally agree with you that the work of Werner Schroeter is very personal, "a dialogue with himself", as you said; that's why I find so many oeneric elements within it.

On the other hand, those personal elements shine because of the constant metaphors of passion. For example, during one of the tableau, while the Stravinsky's music is on the background, there is a clear disconnection between both actresses on screen...until the part of the Sacrifice in the music starts. Suddenly we have one of the two staring directly at the other, until they kiss: the alienation stops, and they become one entity on screen.

As said by Foucault, the work is very passional, and hence, very personal, as you said. Love is an isolated force, different to the communicative pulse of passion.