Art historian Claudia Slanar (translated by Eve Heller) describes the film this way: “Lukas Marxt…begins with a bird’s eye view of an irrigation canal coursing through a desert landscape. A drone camera flies the length of the canal, subsequently flying over Imperial Valley landscapes from the same perspective. Initially appearing as nothing more than spectacular documents of agricultural monocultures, the shots become increasingly abstract – additionally heightened through the accompaniment of an electronic score. Is this an actual or artificially simulated landscape? This ambiguity is precisely the point….”