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Following nonlinear, fragmented, almost irrational narrative, the film attempts to be a revelation of its maker fears and anxieties.  In this self-reflexive task, the film does not tell a “story” in the traditional sense; rather, it reflects upon the mystery of poetry, love, and the very nature of filmmaking.  It deploys visual and verbal quotes from philosophy, poetry, and political thought as exemplified in such figures as Nietzsche, Pasolini, and Kavafy.  The film “speaks” in both formal and vernacular Arabic.