A container is loaded onto a large cargo ship and arrives at a port. What's inside is unknown. It's just one among countless containers. A middle-aged woman, a 'Bodhisattva,' climbs a mountain. 'Gahye' measures the radioactive contamination in the mountain with a measuring device. Young people paint pictures and make things. The Bodhisattva searches for the place where the container will be set. Gahye sees her past life in a mountain temple. The Bodhisattva finally arrives at the container, late. Other people gather here. The film's finely tuned tone creates a strange friction with the setting of a radiation-contaminated place. The characters seem to drift outside the narrative, without any particular interest in each other. The intermingling of images of mountains, Buddhist mythology, nuclear power plants, and art seems to abandon the plot's plausibility. However, this film is closer to depicting a society that has lost its plausibility. Consequently, the viewer may contemplate not only the Nirvana of a great saint but also the process of reaching one's own death, and above all, the 'gatherings' that arise in the face of someone's death.