The film proposes an anti-fascist way of life as a way out from the banal fascism that defines it. Nirvair wanders into an abandoned house and meets Shoaib, who happens to be the memory of Shoaib when he was living, before the world moved on. Over the course of the night, they engage in the spiritual process of attachment only to find out that they have known each other across the surfaces of time and space. Eventually, Nirvair must decide whether to remain inside the house and move towards his death, or leave, to reclaim his death-like existence continuously mutilated by violence, cruelty and fascism. The film is experimental, even within its non-funded domain, challenging the rigidities of filmmaking, self deconstructing. It focuses on slowness and inactivity, which are rare and vilified in a capitalist frame. Its preoccupations then become the surface of time and the ontology of the face.
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