Elika Hedayat distinguishes between the bodies made available to her as models at drawing school and those she encounters in her mind. The former are maimed, sometimes monstrous, they have missing limbs and painful expressions on their faces. Hedayat begins to search for the real persons behind the figures her imagination is projecting on the walls of her skull. She meets Iranian men whose bodies were maimed and thus formed by war. But also men who increase their body mass by disciplined exercise, seemingly compensating for the lack of arms and legs of the others. The young woman is fascinated by the human, male body which she regards as potentially the result and imprint of a much bigger one – the social body. “Tan” is the filmic investigation of this connection which Hedayat grasps intuitively. Together with some of the protagonists she literally dives into the depths to look for the bottom, the reasons. The others’, but also her own.