The story involves a strange woman with an odd accent (Hundee) who, after losing her boyfriend, seeks a virtual reality substitute (a "man chip" as she calls it). This pursuit leads her into the prurient world of image addicts who rely on chip pushers (the drug metaphor is obvious). For those acquainted with the San Francisco underground, there are many cameos by such luminaries as The Sisters of Perpetual Indulgence, Jello Biafra and Elvis Herselvis. Beth Custer provides a bluesy score.
A man journeys by dilapidated train (where most of the passengers look like corpses) to visit his ailing father who is kept in a crumbling ornate sanatorium. He is told by a doctor that time exists differently there and his dying father may recover. The man experiences a flood of dreamlike visions of his past and the small Jewish town he was raised in. The father is seen both ill and as a giddy philosopher in an attic full of birds. At some point we get the creeping sensation that it is the man himself who is dying, not the father as a blind train conductor reappears like a death figure. The increasingly baroque episodes become the rich compost of a graveyard.
The film can also been seen as a requiem for the Eastern European Jewish culture that was wiped out by WW2. It isn't an accident that the protagonist is named Joseph and his father Jacob. Many of the films episodes evoke Jewish symbolism.