The audience sits on the floor inside a cube of transparent projection screens, close to a dancer whose movements animate projected photographs of female soldiers by Jenny Matthews and other representations of bodies in situations of war — placing the audience's body in direct, uncomfortable proximity to the choreography of war and power.
Writing for DCM, critic Manuela de Barros described the piece as a modest but intense staging of the “grand ballet of powers that crush human beings,” noting that involving the audience so closely was itself a political decision.

This piece received the Dance and New Technologies Creation Prize at Festival Les Bains Numériques. In Télérama, critic Thierry Voisin wrote that the work confronts the body with the aesthetics of war circulating through video games, news footage, and film, calling it “unsettling, disturbing, but necessary.”