In an unprecedented act of cinema archaeology, Elisabeth Subrin has reconstructed a forgotten film from the late sixties, not by reassembling its scattered fragments, but by restaging the actual scenario, shot by shot. An obscure portrait of a young Chicago student, Shulie masquerades as the "original" while confounding the truth of its historical moment. But rethinking historical veracity is only part of the ploy. The film's subject is Shulamith Firestone, an undistinguished art student who would soon author the radical 1970 manifesto The Dialectic of Sex. Through this bizarre revivification, Subrin is able to displace the "mythos of the sixties" for a vertiginous examination.