Created while he was still a film student, Tarr's second feature fleshes out many of the themes of Family Nest while refining his newfound focus on music and increasingly Cassavetian aesthetic approach. A young man, bored with life and the limited ways society offers him to live it, attempts to find some form of happiness in the violin, playing for fun or for beer (or, hopefully, both) at local taverns. Unhappy in the hole he calls a home, he finds little solace either at work, where his apathetic approach finds him in constant trouble, or in love, where he has just impregnated one woman but, through his own addled decision-making process, winds up marrying someone else. His only friends an alcoholic painter and a drugged-up rock musician, he is a socialist slacker prototype, caught in the wrong country, at the wrong time, and, as Tarr displays in roughhewn, finely observed details, doomed as a result.