In a Hanoian hotel room, sometime in the mid-2040s, an anonymous PR officer from a synthetic rubber factory in Hanoi, Vietnam, named BP102 meets with an underground documentary crew to discuss the declining supply chain of natural rubber. Clad in a full-body black suit that was passed down from his grandfather, BP102 talks about rubber through a historical materialist lens (the Marxist theory that economic conditions drive history). He paints a portrait of rubber’s traumatic but transformative impact on his home country Vietnam. His disarming analysis is then interspliced with archival footage from early 2020s kink parties, revolutionary monuments in rubber plantations and a popular rubber influencer’s short-form content. BP102 recognises the uncanniness of his position as both a descendant of generations who suffered on rubber plantations and a current rubber enthusiast.

At some point along the way, BP102 begins improvising the rest of the interview despite being under partial sensory deprivation due to his rubber hood.