Where the sandy beach of the Salton Sea, the biggest lake in California, begins to crunch harder, it does not even consist of sand any more: Millions of dead fish, plants and insects pile up on the shore to form a highly toxic substance. This is how Derek explains it, a member of a Cahuilla tribe that managed to escape an attempted genocide in the 19th century to the Salton Sea and now sees itself as a protective force for the once flourishing but increasingly deserted area and its outcasts.
Derek is one of the many locals whose trails Lukas Marxt and Vanja Smiljanić calmly follow, gliding with them through the desolate landscapes. In the process, they pick up slivers of nuclear history time and again: During the Second World War, the area was a test site for the bombs that were dropped on Hiroshima and Nagasaki. The experiments continued through the Cold War; the armed forces are still training here. The film finds its starting point and end two states away: The nuclear devices were sent on their way from Wendover, Utah. The local Airfield Museum pays tribute to their development. Once, the camera performs an almost weightless dance around a model of the Hiroshima bomb “Little Boy” on display there, to the sounds of the indestructible World War classic “We’ll Meet Again.”