Men and women pass instructions between each other as they install a scaffold tower in the depths of the cruising ground of Hampstead Heath. There is a suggestive precarity to this work and to the scene that it sets up; as night falls, the crew replace the daylight with bright, yellow artificial lamps that face on to the scaffolding itself. They fake the glow that we, the viewers, know illuminated this wooded area at the beginning of the film and before the appearance of the crew. We seem to be moving back in time as we move between staged fantasy and reality, looking for sex in this footage of a cruising site as much as we try and determine the narrative thrust of the film. It is also about women looking at men looking for men. Nashashibi relates the charged and coded glances of the cruiser, visible to those in the know, and the experience of looking as a filmmaker who is not part of that action.
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For the encounters involved in and resulting from cruising — stereotypically temporary, casual, anonymous — seem to have little in common with the practices associated with meaningful planetary stewardship. The result is an environmental ethic that acknowledges the extent to which ecological entanglement resembles the queer relationality of cruising far more than it does the other more normative relational paradigms to which we so often analogize it. It is an intransitive pleasure intrinsic to a certain mode of existence, to a self-subtracted being.