This film refers directly and fictionally to one of the first media dramas: the burning of the Zeppelin aircraft LZ 129 Hindenburg as it landed in New York in 1937. The power of these images, which were widely diffused in the press, had a profound haunting impact on people's consciousness. This mode of transport – both futuristic and obsolete – crystallizes a collective imaginary which was fed by cinematic, literary and mythological fiction as Barthes would put it. A mass advances progressively towards the spectator, the camera glides right up to this monster, which is as graceful as a sea mammal, but flames perturb this vision. The mass disappears from view, making it impossible to define clearly, and finally exits the image field. Realized with an anaglyph process – which superimposes two slightly offset images to produce an effect of depth – the film prevents the experience of the third dimension and emphasizes the tricks of fabrication since it is viewed without special glasses. Due to its materiality and blurriness, the image, which is accompanied by a sinusoid wave, exerts a powerful haptic and hypnotic fascination.