On the right-hand screen, the darkness, the night, fragmented memories in abrupt camera movements with blurred images that make it impossible to understand them as a sequence. Everything that seems happy and carefree turns into its opposite, appearing painful and upsetting. On the left-hand screen, the light, the day. The protagonist, a typical girl next- door, is sitting down. She looks torn between four different emotions: first happiness, then elation, anguish and finally relaxation. The action, which is uninterrupted, marks the duration of the short film and of the time that actually goes by as the action itself comes to an end. A long take, which transposes cinematic language into video installation and performance, with a backward tracking shot that, just like the relationship between the gaze and the perspective effect in a painting, reveals its artificial nature and thus marks a step back from the illusion and the
