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AUN – the beginning and the end of all things tells the story of mankind’s quest for the
future, his desire to create the tomorrow, his fear of and loathing for the apocalypse.

Sekai, a Japanese inventor, creates a motor that burns water, in the search for alternative energy sources. Shortly after his wife dies giving birth to their son, Aun, who later discovers a unique sea snail. Sekai uses this snail in his experiments, which ultimately lead to his death.

Twenty years later, a deaf Brazilian scientist named Euclides continues Sekai's research, believing the sea snail holds the key to a livable future. He sends his wife, Nympha, to find Aun, who has become a priest at a Shinto shrine. Their paths intertwine, leading to a journey that blurs the lines between science, spirituality, and the natural world.

The film spins the Faustian theme twice and lays bare open the inexhaustible Judea/Christian believe in progress, which by the 21st century has taken over the entire world and has succeeded in maneuvering the globe into a situation that can’t be solved by means of economics or science anymore. Enlightenment’s merits have taken the West’s ability to sense what is not to be seen, what is only to be felt. Believes are so much more than religion, than monotheistic concepts. Souls and spirits exist not only in film. Denial and neglect of nature’s eternal laws lead to extinction – of the individual and the entire human race. AUN invents rituals as well as mythologies and worships the creator of it all – nature – by playfully laying out its dichotomy with human culture. The film equals mankind’s beauty with nature by announcing that ‘everything mankind creates is nature’.