A three-part photo-video essay. Drive-by photos in black and white with the colors of rainbow on the soundtrack, video clips of a ritual solemnity in color, drive-by photos in a dark green-blue towards a melody of grey.

A double slide projection with 116 images. Varying degrees of roaring ocean waves, in between pictures of pathetic love, as well as representations of human sexuality - dramaturgically alternately and rising prosaic. Concurrently a sound of rhythmically clicking, rushing projectors under a sonorous, crescendo audio collage of a desperately imploring request - an anti-porn, anti-copulation, anti-love film.

The noise of the last leaves up into the crowns of trees. / Two heards running against the wind. The sound of falling water in a bath room. / Touch me I wanna feel your body. A window to autumn and leaves on the ground, a desperate question. / The power of everlasting big big love. A film about approaching ends - last years, weeks, seconds.

Autumn again on planet Earth. Eternally united, a couple of pink rose petals endure the slings and arrows of a heavy thunderstorm. A romantic-conceptualist bedtime story of resistance and redundancy, or the awkward ambivalence of truth, dream, life and love. Let’s unite and blossom!

The present, the whole present and nothing but the present. A young man on a footbridge, a bus departs, his friend is gone. This is followed by a majestic parade through a shopping centre. This central shot in the film is a fragile balancing act between documentary observation and subtle direction. Deliberately asynchronous sound serves to heighten the sense that events are nothing more than a construction of an apparently familiar reality. The boy's melancholic bearing, and the way the film unfolds, are embedded in an extremely expressive, albeit narratively minimalistic, dramaturgy of colour. Vibrant colours introduce each individual sequence: blue, green, yellow, orange, red.

Two boys meet on a tram ride. Something is born - not much and yet everything.