A series of philosophical dialogues that take place over two days about film and crime, white supremacy and decolonial love, and ending friendships.

When Clem, a gangster who wants to devote more of his passion to film rather than continue a career in crime, feels betrayed by an old friend, he decides how to retaliate on the night of another friend’s birthday. What follows is a series of philosophical conversations leading up to the party, the morning after, and a final decision.

Why do I have the desire to make a gangster film? Because it's a filter for the present. If the American gangster films of the 30s were a reflection of economy during the Great Depression, I wanted to make a gangster film reflecting the Pandemic era. But, I wanted to remove mystical shell of the genre’s violence, drugs, profanities, and keep its rational artform contains questions of race, class, gender, and economy. After removing the genre characteristics, what would be left is dialogues. In fact, we know that Socrates was also seen as a criminal. The film takes a Platonic route by having scenes of dialogues before, during, and after a party, and the day after.