When fear no longer exists, Bobby is here to provide you with some primal instinct. In a our real world, which is always in turmoil, we take drugs to gain relief and peace. But in this fictional world of total peace, we take drugs to experience turmoil, so we can be more human again.

A young couple in love spontaneously get involved in an underground play in a dark cellar that is billed as "particularly bad". As expected, the play begins "artistically valuable" - the audience is rather bored, some filming along with amusement. However, the mood changes abruptly when Manfred Amour, the play's car, enters the cellar.

Puppets! Pixels! Anime! Live action! Stock footage! Lumpennerd Johannes Grenzfurthner gives an ideotaining cinematic revue about important political concepts. Everyone is talking about freedom! Privacy! Identity! Resistance! The Market! The Left! But, yikes, Johannes can't tolerate ignorant and topically abusive comments on the "Internet" anymore! Supported by writer Ishan Raval, in this film, Johannes explains, re-evaluates, and sometimes sacrifices political golden calves of discourse. Not to be used with false consciousness or silicone-based lubricant.

When the narcissistic Adam meets the unpretentious Esra, he imagines he has to win her over. His superficiality quickly becomes a problem. Little by little, the painstakingly constructed facade crumbles.

A thirtysomething couple invites another couple to dinner in the suburban pad to which they’ve recently moved. Complications ensue. The less you know about this unsettling chamber-piece drama, the better. Suffice it to say, it deftly and deliciously wrongfoots the audience all the way to its enigmatic finale. The pieces of the film’s carefully constructed jigsaw puzzle elegantly slot together; even then, everyone will see a slightly different picture.

In a future where technology feels more human than ever, people confront love, loss, and identity as the boundaries between man and machine disappear.