The astronaut’s suit—assembled from electronic waste shipped to the Democratic Republic of Congo—materializes a circuit of depletion and digital desire. As it fragments, the promise of technological autonomy collapses. Mineral pendulums, ore-rich asteroids, sapologists, cassava mothers and medicine women inhabit a shared cosmology in which memory resides in matter and knowledge is collectively held.

The film does not separate technology, ritual and ecology, but situates them within a shared field of relations. The forest operates as a living system; ritual acts as a mode of circulation and translation. Recovery does not appear as a return to a lost origin, but as a recalibration across matter, memory and territory, a continual re-tuning within fluctuating dynamics. Within this plantation landscape, ancestral knowledge operates as a counter-code, reprogramming the infrastructures of extraction from within.