In an adaptation of Sartre’s World War II novel “Iron in The Soul”, as well as notes from his personal war diaries, The Adaptation (No-thing me-lanch-oly ’bout us) awkwardly bumps into the question of historicity and plunges head first into the pool of quotations and reenactments of bourgeois cultural production, perhaps only gracelessly dodging the fetish and flow-stopper of the Period Rush. Visiting simultaneously differing pasts, presents and futures, criss-crossing through a time-scape that does not really differentiate between fiction, authorization or the collectively remembered. Counter-remembering. Through this endeavor it tries to remember what it is to remember and how this is done in the madness of collectivity. The method of the filmic adaptation is used as an entry point into a contemplative exercise on the shared space of history, theater, war and cinema - be it in orchestrated machinic tracking shots or the bodily grittiness of the prosthetic action camera.