[sic]

In a Kyoto bookstore, an employee receives a parcel of new books. She methodically leafs through them,
scratching the surface of certain pages with a blade in an extrapolation of the use of bokashi, a Japanese
practice of self-censorship wherein obscenity is defined as “that which unnecessarily excites or stimulates sexual
desire”. In a poetic of the absurd, the film extends the bokashi gesture beyond the question of desire, in a ritual
that doubles as a meditation on what an image does, or can do.