Panning shots describe a room as a succession of still lives: a chair, some fruit on a table, a collection of solitary, waiting objects. Sitting on the bed, there is the presence of a young woman: Chantal Akerman, filmmaker herself, eating an apple.

“Lounging on a small bed, Akerman’s posture seems casual and relaxed at first glance, but the repetitive tilts of her head—to the left and then back to center—contrasting with the smooth glide of the camera suggest otherwise. Restlessness is in the air, yet before we can discern it, the image is already on the move, retracing its steps for a second time. The chair, the kitchen table, the kettle: everything is in its place, both as alive and as dead as possible.” Öykü writes.