: In a dusty Mexican town, a masked wrestler known as Escargot Man prepares for a high-stakes match against a much younger opponent.

: A man (Matsumoto) in polka-dot pajamas awakens in a vast, sterile white room with no exit. The walls are covered in "phallic protuberances"—cherubic switches that, when pressed, release random objects like toothbrushes, sushi, or even live animals.

The film follows two seemingly unrelated stories that eventually collide in a grand, cosmic climax:

To ask what genre Symbol, by Japanese director Hitoshi Matsumoto, belongs to tends to spoil its sophisticated conceptual approach. Symbol – The Asian Cinema Critic

: True to its title, the film treats every object and action as a symbol that lacks immediate context but carries immense weight in the larger "Theory of Everything".