The film is a black comedy that deals with privatization in Southeast Europe.

Like a noise rock Brave New World with echoes of Alphaville, this gorgeous black and white vision of Japan after a nuclear disaster pits chaos against control and secret agents against an oppressive government agency.

Hasegawa is writing a sequel to his previous novel, based on a true character who murdered 9 people on the street, with the premise that the killer had a brother. The main character in his new novel, Harumi, drops out of high school and leads a quiet life, unable to understand his brother. He is scared that the same blood runs in his veins but is also enraged by the fact that his brother’s life is consumed as material for novels by many writers. A novelist, Hasegawa faces limitations in making being able to make fiction as real and cruel as it is in reality. Hasegawa hears from a witness how a murder happened but he cannot be sure if it is a true event or from her imagination. One day, Hasegawa encounters Harumi… This is an obscure yet attractive film that extends its style from Kurosawa Kiyoshi to David Lynch. The title, A Bao A Qu, comes from a shapeless being that earns its shape as the pilgrim of a true heart near him featured in Indian religion and The Arabian Nights.