Erika LaBrie legally changed her name to Erika Eiffel after marrying the Paris landmark in a private ceremony, and this film follows her and other members of Objectum Sexuality Internationale, a small community of people who form romantic and sexual attachments to objects rather than people. Cameras sit in on interviews where Eiffel explains falling for the tower's engineering and scale, and profile others in the group, including a woman committed to a church organ and a man devoted to a fairground ride. The film treats the subject as sociology rather than spectacle, letting its subjects describe how they distinguish attraction from metaphor, how they navigate ridicule from family and media, and how the community formed online before finding each other in person. Psychologists and skeptics appear alongside the subjects, weighing whether objectum sexuality is a paraphilia, a form of autism-linked perception, or something psychiatry has no category for yet. It stays with Eiffel long enough to make her devotion to a 300-meter iron structure feel less like a joke and more like an unresolved question about what attraction actually is.