In a late-night bar, two ex-lovers engage in an argument about addiction, gambling, deception and seventeenth-century life insurance.

'Hit' employs a structure in which the same seven minute script is shot three times. Each new sequence features a different arrangement of three actors who swap roles and identities as the piece loops continuously. A filmic impossibility is played out against a thread of continuous bluff and double-bluff.

'Hit' places a cinematic image inside a structural framework and reflects on the prevalence of desire, identity and capital as the conditions of our time. Critic Sarah Kent wrote of 'Hit' in Time Out: "Superb acting, good camerwork and a seductive soundtrack... Structuralism meets film noir, an unlikely coupling that lays bare the bones of narrative film and makes its construction seem effortless."