Two polar bears sit in deckchairs by the river and fish, a shot is fired. A woman wears a fox as a stole around her neck. She smokes and exhales, everything turns red. Two elderly ladies wait at a zebra crossing where the flow of cars is directed by a traffic light. One of them holds a barking dog on a leash. The other takes a pair of scissors and cuts the leash. The dog runs away. End of story, next shot. A woman mows the lawn in a red bathing suit, lying on the grass in front of her is a dolphin, gasping for air.
A recurring location is the forest, that no longer holds the promise of retreat. In 47 images, Symphony no. 42 tells of a mythical world devoid of morality. The director transfers human emotion and behaviour to animals, she anthropomorphises. Consistently, she also applies this procedure to the interrelationship between humankind and nature. This gives rise to surreal situations that could hardly be more concrete.