Through rapid digitization, the analog film has almost completely disappeared from everyday life in Europe within two years. A media upheaval of this speed is unique in film history, and when it happens, it is largely unplanned. It is affected by social, economic and technical forces that mutually speed each other up or cancel each other out. This is a chaotic situation, in which one does not even know exactly which film is located where.

There is definitely a risk of losses, but this is not in the focus of the considerations of Kader. The film deals with the question of the transformation of the visual archive between the 20th and the 21st centuries. The organization of the visual memory of the future differs entirely from that of the present, and unequivocally follows utopian ideas. Its character is totalitarian. This is why we talk of the digital revolution and destroy most of the old film copies, instead of keeping them as an alternative to the coming archives.

The transformation process is characterized by two machines. One of them destroys the old medium, the other tries to collect all of the existing visual information digitally, and tries to learn how to see. As is characteristic of technical revolutions, man appears as the one that does the groundwork. Now that not only strength but also the senses and the cognitive element are being technically prolonged and extended, the end of the old film medium belongs to the creative handling of our audiovisual inheritance, the imaginative force that can arise from annihilation and mechanization. In the second part of the film, the artist Georg Schmitt reinvents film history, and constructs the narrative of the film within the mechanical world from the set pieces of individual, discovered image cadres. This mechanical world in turn is reconstructed and compacted from documentary set pieces in Kader. The film allows the emergence of a dystopian, absurd world, in which a practically unnoticed social process experiences its visual concretization.