Inspired by Thomas Edison’s Kinetoscopic Record of a Sneeze (1894), one of the earliest motion studies, Rottenberg reimagines the act of sneezing as a fantastical form of bodily production.

Three men with exaggerated, sculpted noses sit in a sparse, observational setting, seemingly unable to stop sneezing; as the tension builds and releases, live rabbits, chunks of meat, and light bulbs appear as if expelled from their bodies. Echoing the logic of the pornographic “money shot,” the sneeze becomes a cinematic moment in which the immaterial is made material, expressing an internal state through physical release. The film focuses on the intense physicality of the sneeze, on how it builds up through bodily tension, and is finally released, only for the cycle of tension followed by release to begin again.