在这部关于人类、动物与事物的故事纪录片片中,The trees are covered in thick snow. A peaceful group of hunters tramp through the forest. At night they celebrate their kill. A group of men sworn to their own ethics of the dignity of all creatures. It’s only in the death of the opposite they aimed at that they find respect for the existence of the killed game, for which this violent end of life is the beginning of an existence as an object. Mounted and worked on with extreme skill until they once more resemble the vibrant “before”, the carcasses are processed and made suitable for the human eye and its desire to feast on things. Former but never quite gone deer, muskrats and birds look at you. The line between the life and death of these animals seems to get blurred in the course of the film, only to be drawn even more strongly. The adoration of the wilderness of tamed nature in rituals of presentation made for humans clearly follows different logics than the comfortable and presentable one of keeping pets. Dead eyes do not look back.
A taxidermist, a deer farmer and a museum worker live in the environment in which the line between reality and artificiality has become imperceptible. It's a world where not only deer and boars but also plastic alligator mannequins are being hunted, while stuffed animals compete for the most alive-looking posture and legitimate gaze. The most important exhibits are set up in fabricated nature's glass-case, sitting between aerosol-free trees and fake snow. Animals are looking from all the sides - dead or alive - they won't stop observing you.
