The film was originally shown during the interval of an opera written by Francis Picabia.  It was the product of collaboration among Dada artists circle in Paris as an experiment on film as a new public art form.  Like many other Dada art form, they were to challenge the conventional narrative films and, in a bigger sense, to reject and ridicule all the Aristotelian ideas on time and space.                                                                                                                                                                       

 The film starts out with pans through the city, probably shot from the rooftop.  It delivers voyeuristic tones to the washed out image of the buildings.  On the rooftop, two men (Picabia and some other artist) are jumping around the canal in slow motion.  The canal here could be an analogous to a camera, which is trying to break the traditional attitude toward narrative filmmaking. The shot of chess scene by Man Ray and Marcel Duchamp is used to show that the film is an art plays with time, and also it challenges our duration of time just like playing chess. 

Throughout the film, our emotions are provoked by rhythm of cinematic language created by light, shadow, and movement.

When shooting landscape and architecture, the camera moves fast enough that what we see is a mere abstraction of shadows, light, form, all in motion. Those movements seem to portray the human psyche, how our mind works, which is chaotic, multiplicity, and confused.  Sometimes the mise-en-scene splits into half, and distorts toward the middle.  Human is most of the time shot in slow motion, as if struggling to move forward like in a dream. 

The camera also plays a subjective role, for example, the paper airplane floats around the city as if it is the real one, and explores the look from above.  (a view from above=Eiffel tower.)  Cuts from roller coaster carry the speed and excitement, but we all know the coaster will arrive at the beginning point sooner or later.  Does that suggest that the artificially aroused feelings will go nowhere?

Unlike hard-core surrealist films, the film is mostly shot outside, in the public space, and so explicitly challenging all the traditional values in art and filmmaking.  At the ending, after the film cuts to "FIN", one of the men on the rooftop breaks in and tears the troop apart.  He moves his forefingers as if to tease us who expected the end of the film, and both men start to argue. 

Ideas and themes run through the film, however, it is told through seemingly random associations between different sequences and not by narrative.  When it was screened, it was played with a live piano performance, which we can see in the film as well.