“The moon, the sometimes dark street, trees, it’s warm […] at last, a certain eroticism possible (that of the warm night).” When Roland Barthes visited China in 1973, he jotted down some notes that would become part of his Travels in China (Carnets du voyage en Chine), an underplot of desire in his imagination of the country. Barthes did not publish these writings during his lifetime, and his unsettling judgments about China are refracted in Peng Zuqiang’s work as fragments of dialogues on class and looking, responding to the reflections on the same matters elicited alongside Barthes’ sense of eroticism. The local tourist in the film travels through different spaces and gatherings, seemingly never looking at anyone, yet silently looking at someone, turning towards a certain collectivity in the know. A possible subversion of a homoerotic foreign gaze.