Summary

The film is built as if out of nothing, actually growing out of that "web" of human relations on which the world rests. The motive of separation from the roots is present in the film, as well as the motive of restoring the way of life, returning vitality. Yuri Shiller's handwriting is special, it is recognizable in the rhythms of intra—frame editing, in branded driveways and panoramas, where, as it were, disorganized life acquires an unflattering depth, and the finiteness of the time allotted to a person, the nature surrounding him, and the world at home in general becomes physically palpable.