A small and thin barefoot slave (played by Polanski) plays a flute and beats a drum to entertain his large master who rocks in a rocking chair in front of his mansion. The slave jumps and leaps like a madman, wipes his master's brow, feeds him, washes his feet, shades him from the sun with an umbrella and holds a urinal for him.

While filming the Olympics, a filmmaker encounters a Japanese girl. Manchurian born and French educated, she's an intriguing anomaly. He films her around Tokyo, as she speaks of Japan, being Japanese and her unique perspective on life.

Composed entirely of still photographs shot by Marker himself over the course of his restless travel through twenty-six countries, If I Had Four Dromedaries stages a probing, at times agitated, search for the meanings of the photographic image, in the form of an extended voiceover conversation and debate between the "amateur photographer" credited with the images and two of his colleagues. Anticipating later writings by Roland Barthes and Susan Sontag (who professed her admiration for the film) If I Had Four Dromedaries reveals Marker's instinctual understanding of the secret rapport between still and moving image.