Using footage in large part taken from a depth camera, later interpreted through further 3D animation softwares, the image in Andran Abramjan and Jan Hofman’s film has a heightened sensorial quality, but one that feels decidedly inhuman, like the grubby impression left behind by the 21st century in video games and on the internet, as remembered by a neural network. The creeping movement of drones, ring lights for self-shooting, and girls with guns.