Anina documents a voyage onboard a container ship, crossing into the Baltic. In the form of a film-essay without a narrator, the film assumes the point of view of these iron cathedrals, the industrial maritime landscape they exist in, and the aesthetic spectacles they produce midst the logistical cacophony of logistics and territory. The maritime industrial landscapes as seen from a container ship along its voyage, are socialised spaces, inoperable without their sociability, not only in their forms of labour but also in the heavily legal, para-national, and sovereign modes of governmentality that these landscapes become artefacts of, and which are erased in their fetishisation. The shipping industry’s ever-shifting landscape, affecting even your interaction with his text, crafts its own mythology.