In a monologue, a narrator addresses his unborn son. His words are accompanied by grainy 16mm black-and-white images depicting the slums of Chişinău. The misery of the downtrodden appears continually transformed into something almost sacred. In this manner, PALMS exerts a controversial fascination. Whereas Pier Paolo Pasolini's early works shone a spotlight on the sub-proletariat, here it is the "nishie", the poorest among the beggars, who are made visible and resist against social constraints with their mere existence.