In the film, a visit to a cosmetic-surgery clinic and the discovery of a lump in his testicle and an abscess in his mouth confront filmmaker Selim Mourad with transience and decay. After his death, which proceeds without any further explanation or ado, Selim’s image appears in an exhibition by a pretentious photographer, and a visitor to the gallery comments that the round framing of these portraits of the dead is reminiscent of film. The actual film frame then also adopts this circular form, this time with Selim’s friend Tamara at the center.
Mourad describes the film as “an ode to life, an exploration of death and rebirth, a poem about cinema,” in his director’s statement.
The film is the