Produced in the wake of the 2015 terrorist attacks in Paris, the film traces the journey and trial of a young man from the suburbs of Paris who travelled via Egypt to Syria to join the Al-Nusra Front (al-Qaeda). The subject’s path to radicalism is explored both through judicial transcripts and through a series of landscape shots filmed at the locations traversed by the subject: a biography determined not by what the subject did, but by what the subject saw. In this way, Baudelaire’s film positions itself as both a remake and a test of the landscape theory proposed by Japanese filmmaker Masao Adachi in his 1969 masterpiece A.K.A. Serial Killer, questioning how these landscapes reflect the social and political structures that form the backdrop for this journey of alienation and return.