Mapping extreme close-ups of Broughton's body, the camera slowly becomes a tool to reveal the erotic beauty of the body and the sensual pleasure in loving oneself. The ecstasy and power of sexual gratification are celebrated by the camera, as it probes, reveals, and visually caresses. Broughton's song is a praise of his body as divine androgyne, and an acceptance of this higher, sexual power.

People quietly or mischievously pass the time in an overgrown garden full of statues, while a puritanical, funereal gentleman posts bills prohibiting all leisure activities.

In this homage to Zen poet Basho, the subtle changes of a pond are chronicled on film over a period of time. Broughton recites his cuckoo haikus in the background.

James Broughton's counterculture masterpiece about nudity and a bed.