The future is dark which is, on the whole, the best thing the future can be, I think.” With this observation as a starting-point, “Altogether” fully acknowledges the ideological impasse of the post 68-era. The symbolic presence of flags and historical buildings, and of maintaining (national) capitals as such has become arguable; projected into the (near) future, they appear in a most uncertain light, and the cinematographic language underlines this: fragmented and associative, shot in black and white, the video shows sketchy images of urban scenery, some of them shot with a moving cell-phone camera on a car ride through Brussels.