The images and their montage generate a stream of perceptions and associations, if you will, they are pastoral dream images of tenderness and love, but over the whole, there is a feeling of sadness and destruction. The beginning of the film is at the limit of the recognizable and is brutal in its dismemberment, more quiet moments come over time, but they are not safe either. A thunderstorm hangs in the air and the violence of the sea in images and sound. A mediation about the passing could be an interpretation - but the image material can be interpreted very differently like every poem, it is also in the experiences and associations of the viewer what one sees and feels last. The idea of this film is to be a visual fragment, there is no clear narrative, the viewer is left to his own thoughts. There is no wrong, or right, interpretation - as already written. This film is ultimately a picture poem, an imagination, and a transcendental experience. A visual mystery inspired by pointillistic and impressionist paintings. In contrast to a painting that stands still in time, the advantage or disadvantage (as you want) is that the film has a time dimension. Everything is in a constant process of change. The image collage works largely with psychedelic vibrations of appropriated footage (found footage) and self-made footage backed up by an electronic sound. The image is deconstructed by pixels, digital compositions, and overlays of different parts of the image. The film's image flow looks like weathered frescoes. The human body remains recognizable but is surrounded by overlays that fragment the image and give the entire image its aura.