Erika LaBrie legally changes her surname to Eiffel after a private commitment ceremony with the Paris landmark she says she loves. The film follows her alongside two other women who identify as objectum sexuals: Amy, drawn to a fairground attraction, and a third woman attracted to a section of the Berlin Wall. Interviews let each woman describe how the attraction began, what it feels like, and how it has shaped relationships with family and past partners. The camera follows them to the structures themselves, watching them touch, talk to, and photograph the objects they say they are bonded to. Psychologists and researchers weigh in on where objectum sexuality might fit clinically, while the women push back against being pathologized, framing their orientation as simply different rather than disordered. The film does not resolve the debate; it leaves the viewer with three specific, sincere accounts and the discomfort of not having an easy category to file them under.