Apparently Djurberg's mother made a puppet theater and traveled around Göteborg performing during her childhood. This short story of a young man initially listening to birdsong in a city, suddenly confronted to warfare and wounded, could visually resemble child's doll game or mise en scène, with a high dose of cynicism and violence. The figure, Hans, is attended to by two nurses whose raw discussion appears in speech bubbles: “we'll have to amputate”. Djurberg employs the full formal potential of the clay material and basic building blocks to emphasize the morphing messiness and randomness of destruction. The scenario ends with the ironic comment about him now being “happy and useless”.
“One of the first films I made, Hans förlorar sina båda armar och ben (2004), was pretty much about me and my relationship to harm at that time. The idea came from a dream I had. I dreamed that someone was trying to save the world, and then he lost both his arms and legs, but he was still trying to help by cleaning the street that really smelled. My mother and my grandmother were standing there looking at him and saying to each other things like “oh, look, he's so useless”, “yeah, but he's happy, useless and happy.” I was initially devastated by this dream, but then I began to think it was funny. I thought I wasn't allowed to think it was funny because I really didn't want him to lose his arms and legs. When you are not allowed to do something, you become attracted to it.” Quoted in “Germano Celant – Nathalie Djurberg”, in Nathalie Djurberg. Turn Into Me, Milan, Fondazione Prada, 2008, p. 193.