This film unfolds along two interconnected axes. The first documents the decomposition process of plants in a sterile, cloth-covered room reminiscent of a morgue. The second follows a letter from a Japanese researcher studying death, addressed to the director who seeks to witness paintings of the Nine Stages of Decay. As the film diverges from the initial quest to view the paintings in person, it transforms into a visual embodiment of the nine stages of decay themselves, meticulously observing the death of plants step by step. Much like the Buddhist paintings of the Nine Stages of Decay that connect existence, death, and meditation practice, this film—evolving into "plant version depiction of the Nine Stages of Decay"—intertwines death and decay with life and vitality. It powerfully demonstrates that the energy of decaying plants is as vigorous as that of living ones. The flourishing mold and emergence of fruit flies amidst plant decay vividly illustrate the cyclical nature of existence: how death brings forth life, and how life, in turn, invites death.