It is the summer of 2025. The Malaysian-Chinese starlet Stella Cheng, clad in her rubber costume, sits in a Parisian hotel room for a behind-the-scenes interview about her double role in the film production Vampires All Around Me, inspired among other things by Olivier Assayas’ cult classic Irma Vep (1996) and its predecessor Les Vampires (Louis Feuillade, 1915). Opposite her is the film’s director, a refined degenerate in certain circles, who commands her to articulate the varied sensations of wearing rubber. Rushes from the shoot play over their awkward conversation, as Stella gradually and inadvertently reveals her family’s complex entanglements with the rubber industry. Drawing from her grandfather’s real memoirs, Stella offers an emotionally fraught account of how her family’s rubber business was caught in the crosshairs of history – first during the Japanese Occupation, and again during the Malayan Emergency. Obsessed with meta-narrative possibilities, the director implores Stella to rewrite his film with her family’s heirloom.