On the beach at Alang, India, workers pull apart the world's retired supertankers and cargo ships by hand, cutting steel hulls into scrap with torches while standing in oil, asbestos dust, and mud. The film follows the men who do this work, some of them boys, earning a few dollars a day for one of the most dangerous jobs on earth, and shows the prayer they offer to the goddess Kali before starting a shift in what they call the place where ships go to die. Interviews with laborers, foremen, and ship owners lay out why the industry landed here: cheap labor and lax regulation make Alang more profitable than dismantling ships in the countries that built them. Camera work stays close to the physical process, the cutting, the hauling of steel plate down the sand, the makeshift housing where workers sleep between shifts, without narration smoothing over what it shows. It is a document of globalization's back end, where a Western ship's last stop becomes someone else's daily risk of injury or death for a wage.