The short film weaves together multiple strands of imagery into a layered emotional landscape on time passing, the smallness of human existence and, specifically, two women. A drone-like sound reinforces atmosphere and continuity across the images.

The origin of the project stems from ‘found footage’ (I bought a Super 8 camera in a charity shop and inside was a used cartridge which I sent off to be processed). Grainy black-and-white footage of an unknown woman sometime in the early 1970’s inspired other contemporarily-made Super 8 films of faded, almost sun-bleached colour and b/w imagery, continuing to evoke the nostalgic aesthetic of home video. This interplay suggests a tension between past and present, as though the film is piecing together fragments of lived experience. The recurring imagery of one long train entering and exiting the frame, people entering and exiting the frame as they walk along a beach, domestic and resort spaces, and the solitary woman ‘performing’ reinforces this impression. These are spaces that feel familiar yet strange, grounded yet elusive.

There is a quiet emphasis on human presence, though it is often indirect or fleeting. Going somewhere or going nowhere to create the film’s overall mood, which is not so interested in arrival or resolution but more focused on the experience of being in transit—emotionally, temporally, and spatially. It aspires to create a deeply felt sense of the passing of time and the smallness of individual experience.