As a plague pandemic ravages the world, a renowned parasitologist finds herself trapped in a hibernation chamber. In order to escape, she must do whatever it takes. There is no going back.

In the vein of Possessor by Brandon Cronenberg (a great friend of the director), Tin Can dives into dark, clinical and geometrical anticipation, scrutinizing the way humans confront their flesh to the future. A filmmaker and a visual artist, Seth A. Smith has been able in just a few films to impose an esthetic on the borders of conceptuality, inspired by shapes, lines and faces. What if we were witnessing the birth of a new school of Canadian science-fiction, with its own identity, patterns and themes?