My starting point is the astonishing experience of the changes in one and the same picture. The motive of the film is the view out of my studio window. I imagine various motives in the street - for example, glittering water with flying white seagulls, a portrait of Barbara Stanwyck, a scene from Berin and one from San Francisco. A house facade as compressed memory, an ephemeral film between inside and out, between then and now.