[1] Shot in black and white, the film has been described as a dystopian vision of the future,[2] in which what remains of the human race is worked to death in a set of repetitive and meaningless tasks.

A newcomer, one of many men in drab suits walking in single file through a wasteland, enters a huge and grim factory building and is interviewed by a "headhunter" who only appears to be a man, but is actually a "talking face".

Pressure Bolt invokes a vision of a future dystopia,[2] in which lines of alienated[4] people on screen appear to be all that remains of the human race,[5] worked to death in a set of repetitive and meaningless tasks.

"[2] Benni Diez developed a love for horror and science-fiction filmmaking in the early 1990s, and worked for agencies and production companies in Bavaria before enrolling at Film Academy Baden-Württemberg in 2002, where he specialised in visual effects and animation.

"[11] The short is a 35 mm film[1] (Digital Betacam),[12] all of it shot within a 3x3 m blue screen over two days, using two lamps, "a shopping cart for a dolly," on a Canon XM1 DV camera.

[10]Assigning a rating of 3½ stars, Austin Wolfe Murray calls Pressure Bolt Kafkaesque "in tone and spirit," a film in which fear is "the driving force."

He compares the short to Marc Caro's and Jean-Pierre Jeunet's The City of Lost Children, moments when the room, the headhunter and the "quitter" might have been mistaken for CGI animations, "created to look not quite normal and, therefore, disturbing.