The work of Kristina Inčiūraitė is known for its laconic artistic language and the depiction of topical future scenarios. It often tells the story about humans falling hostage to the world they themselves have created – a world balancing between reality and fiction.
The action in the film June seems to take place in a timeless expanse. In one segment, we see filmed images of crickets enclosed in jars at a Shanghai animal market. In another, Inčiūraitė shows us an abandoned amphitheater in the Chinese region of Tianducheng, a development built to imitate the French architectural style. Due to the overdevelopment of Chinese cities and poor transportation access, the city became a ghost town. A woman appearing in the film becomes trapped in this cityscape, much like the lonely crickets in their jars. The entire scenario is described in terms used to explain various states of illness, taken from the titles of women‘s poetry written in the late Chinese imperial period.