A computer called Euclid and a mathematician called Maximillian Cohen. These two ingredients are enough to create an intense film that embraces the controversial theme of science and knowledge as a whole and in all its complexity.
Max shaves his head to be able to connect his computer to a specific area of his brain. The myth of Frankenstein returns in a violent fashion, but the questions also travel along other channels: genius and folly, mathematics and numerology, scientific truth and mysticism. The film does not give many replies but throws these dilemmas violently in the face of the audience. The handheld camera, with crude black and white film, makes it difficult. The pace is fast and leaves no time to stop and reflect: it has to be thought about later.
In the delirious search for a uniformity of numbers regularity, Maximillian’s computer always stops on the same sequence, and in a thriller-type atmosphere he is contacted by financial operators and by rabbis who study the cabala.
Between the stock market and the existence of God, Max regularly consults with his old mathematics professor, Sol Robeson. These are the deepest moments where his paranoia takes the form of a philosophical debate and mixes with the past troubles of his guide, now the voice of reason.