With Uh Oh! Zando continues to examine issues of power and degradation. The unsteady, vertiginous camera movements, the variety of close-ups, extreme viewpoints from below, and the dreamlike recollections of the female main character rendered by voice-overs, enhance the internal atmosphere of the tape. The story revolves around the classic sadomasochistic text Story of O, but rather than an adaptation it is a critical analysis of masochism and love. In Uh Oh!, an all female cast plays cowboys engaged in sadomasochistic rituals. One of the characters seduces Oh, who works as a waitress in a diner and falls for the machismo qualities embodied in cowboys. The presentation of females exerting violent activities against other females appears at the same time alienating and provocative. Yet, the stereotypical cliche of the woman as submissive victim craving for her lover undermines the subversion of the gender exchange. The odyssey of Oh involves changes in localities, and the transformation of the inner self. Thai diner setting is replaced by a monumental chateau to where Rene takes her. Here, he not only demands of her to serve him, but to lend herself to others. Oh turns into a sexually dependent person, swaying in between passionate pleasure, vulnerability and pain. Her dreams, narrated by voice-overs, reflect her inner confusion. The dreams are dominated by the recurrent motifs of plane crashes; a metaphor of losing control and submission to the power of a male/female partner.