Things (and their treatment) are shown repeatedly - a loaf of bread, a sausage, an egg cracked open on the rim of a cup: everyday actions with irreversible, one might say vitally destructive consequences. In the second part, the actions are directed at people, and the anxiety changes because the situations are created deliberately and uncritically. Part three, which could be read as a sober protocol of a relationship, loses the proximity to actionism and performance. Images of a man and a woman alternate with images of windows, mirrors, sofas, and the interior.

This animated short film is composed entirely of etched woodblocks. It speculates on the legacy of the Cultural Revolution, alluding to the historical use of woodblock printing in disseminating ideology. Woodblock printing, which emerged in 7th century China, experienced a revival during the Cultural Revolution in the 1960s and 1970s as a means to quickly communicate information to a mass audience. One of the key proponents in China's modern woodcut movement was Lu Xun, whose philosophy is embedded throughout the film. For instance, Lu Xun's motif of cannibalism to describe the decay of Chinese consciousness is referenced when the protagonist pulls an insect from within his own body and eats it alive.