The film revolves around light as a medium, motif and metaphor for political, cultural and technological developments at the same time. Starting from the cosmological phenomenon, the film follows light into the Age of »EnLightenment«, which hoped to replace the divine miracle with physical and optical laws
The wonder of the visible world turns into a scientific mystery to be solved. Technological development not only made possible the expansion of the visible world but penetrated deeper into matter than ever seemed conceivable to the eye. The technological light of knowledge not only displaced religious perspectives yet appeared as a promise on the horizon. From here technology mediates itself as a tool and zenith at the same time. The question of the future is no longer a question of time but a question of the technology in which the future is to lie.

From the question of ethics, which reflected the nature of human action, an ethics of technological provenance is generated. Do the possibilities associated with technological means and advances legitimize their use?
Frame by frame, the film moves from one light phenomenon to the next, and a whispered text comments on the questions that cannot be separated from this development.
Each further step in technological development seems to exacerbate the contradiction between cure and weapon, between long-sought solution and destruction. Both, Hiroshima and Chernobyl, have seemingly endless energy reserves and seemingly endless consequences for the future.

The future is no longer an unknown quantity but has in fact already begun. The effects of technological means are already certain, the only unanswered question is how they can be brought under control and whether and in what form man will still be present in this future. The irradiated bodies will continue to radiate beyond death. The former question of how to protect the present from an unknown future has changed into the question of how to protect the future from our technological present. The question of technology turns out to be primarily a question of ethics and the film pleads aesthetically not to put technology in the light detached from philosophical questions.