Beneath an artificial snowfall, a character lies motionless on the ground. It could be the final shot of a film: death has already occurred, the scene should be over. And yet, the world keeps moving. While the protagonist remains forever suspended in that image, life continues around them. It is the extras—the bodies that until then occupied the background of the scene —who keep moving and, almost without realizing it, inherit the film. When a protagonist dies, the world does not stop; it simply stops following them

Extras continues the investigation begun in Special Effects into the relationship between dance and cinema, between the body and the cinematic apparatus. But while that work asked what happens during a protagonist's final agony, Extras asks what happens once the protagonist is dead and the world keeps moving. Extras does not invent another world; it simply shifts the point of view. Rather, it uncovers a world that was already hidden within this one. Isn't that, after all, what we call fiction? Extras is not about those who remained in the background, but about cinema's power to produce a center. The protagonist does not exist before the film; it is the film that creates one by deciding whom to follow. Extras consists precisely in changing that decision.