Consumer capitalism gets put on trial through a barrage of archival footage, industrial imagery, and found text in Erik Gandini's essay film. Fidel Castro appears in old speech clips railing against Western excess, chicken carcasses move down a processing line in unbroken takes, and the film reads passages from Theodore Kaczynski's Unabomber manifesto over images of shopping malls and factory farms, treating the terrorist's diagnosis of industrial society as worth hearing even from a murderer. Footage from the 1999 WTO protests in Seattle sits alongside advertising and news broadcasts, building an argument that the promises made for capitalism and technology, more leisure, less labor, greater abundance, have not materialized and structurally cannot. There is no narrator walking you through a thesis; the film assembles its case entirely from other people's footage and words, letting the juxtapositions do the arguing. It plays more like a visual pamphlet than a conventional documentary, blunt and unsubtle by design, aimed at viewers already uneasy about consumer culture rather than at persuading skeptics from scratch.