Life, Dream, Love, Death, Poetry are the key concepts of the five stanzas of the poem Nothing More by František Halas, a well-known left-leaning Czech poet from the first half of the 20th century. The film follows the structure of the five-chapter poem, but at the same time takes us forward in time, up to eighty years later, into the personal visions of director Vít Pancíř. In order to make a film that is essentially symbolic-metaphorical, he, in addition to other means of expression, also uses a lot of irony, or perhaps self-irony, and produces a work that explains nothing to the spectators and leaves them at the mercy of a flow of images that evoke the impossibility of rational understanding of human life. The film therefore aims to capture Halas's tragic split between the socially profane and the deeply spiritual, for which his communist comrades labeled him, immediately after his death in 1949, as a decadent nihilist and, as a consequence, his works could not be published in Czechoslovakia for almost ten years.