The documentary opens with an introduction by Tilda Swinton, who gives a backstory about Björk's career and her intention with the Biophilia project, stating that the singer conceived the project wanting to redefine music in the 21st Century. Images from the "Moon and "Mutual Core" music videos accompany her speech. After that, some frames focus on the Graduale Nobili who are singing the backing vocals to "Thunderbolt" on a cliff in front of the ocean in Iceland. Thereafter the scene shifts to an early rehearsal of the Biophilia songs in Iceland during November 2010. The choir begin to learn their parts in "Thunderbolt" and "Moon" under the guide of the singer. After that, the documentary shows the encounter between Björk and Sir David Attenborough in the Natural History Museum in London. There, the naturalist and the singer discuss about the nature of music. They first talk about the importance of music and singing in the nature, with Attenborough explaining how music works for birds like the bird-of-paradise and the lyrebird, whose chirping is defined by the naturalist the "most complex sound ever", and he goes on by stating that the bird has developed an "impressive vocal range" which he compares to that of Björk. Attenborough states that the human larynx is capable of many more sounds that preceded language. Therefore, the singer asks him how he thinks music works for the modern people, and the naturalist explains how he thinks popular music is "extremely sexual", comparing popular music to medieval troubadors, and that is why is so relatable to young people and animals, i.e. the gibbons, which mate by singing together out of excitement. Attenborough affirms that "the mistery is how music has been used by humanity for something that is transcendental".
The film narrates that how aspiring filmmakers Chris Stamp and Kit Lambert, searching a subject for their underground movie, wound up discovering, mentoring and co-managing English rock band The Who.
One of the few documentaries focusing on the hardcore music scene of one city (after the genre became much less tied to, and a subgenre of punk rock), N.Y.H.C. featured seven bands prominent in the mid-90s scene. A diverse grouping was selected, from Long Island suburbanites to Bronx inner-city youth to Hare Krishna devotees.