A naïve documentary filmmaker, astride a battered scooter, armed with a modest stage draped in purple cloth and three cameras, embarks on a journey in search of the true and absolute voice of his people.
His quixotic mission—an intimate allusion to Dziga Vertov’s The Man with the Movie Camera (1929)—revives the early dream of cinema as an instrument of pure revelation, determined to bring truth itself to the screen.
Yet a celebrated film director confronts him with the defining dilemma of his life: whether to persevere in his pursuit of the exalted documentary truth he so devoutly seeks, or to yield to the perennial temptation—to show what audiences have always wished to see on the screen: sex and violence.