A sandstorm blows, and water is scarce. A quirky teenage girl gets curious about a passing truck driver in a remote mining town without radio signals.

A collage constructed from the frame aims to unite different planes from space distortions, enclosing different landscapes in the same frame —creating non-existent but potentially real landscapes.

What waves and signals run through the hybrid landscapes between agricultural use and fallow land? Who crosses them? Human labour, travel and intervention in the landscape and space meet atmosphere, wind, and earth. Posthuman modes of production meet the magnetism and visions of Afrofuturism. The film's settings include a field in the Lower Rhine region, outer space, a forest in Bad Marienberg and a research site for migratory birds. Generated voices quote texts by feminist science fiction author Ursula K. Le Guin, the theorist Mark Le Guin, and the film's director. Le Guin, the theorist Mark Fisher, artist Lygia Clark, and interviews with foresters and bird researchers form the soundtrack together with music by Dominik Eulberg, Manuela Schinininà, Maya Shenfeld and Tim Tetzner.

Scottie reads John Berger's "Ways of Seeing" and asks himself some questions. Judy is silent.