The life story of an elderly Mauritanian woman, Aïcha Messaoud, who spent her whole life as part of Sheik Ma-el-Aïnïne's distinguished family of nomads and now lives in the small Moroccan village of Tata, in the northern part of Western Sahara. The filmmaker sets out to trace the memories of her heroine. Stage after stage, she travels through thousands of kilometres across the desert, encountering the descendants of the Sheik.

“With my passing travels, Istanbul remains enigmatic and without secret, far from prevailing visibilities.” (M.J. Mondzain) Everything is mixed, everything is there – not in organised, protected, preserved strata, but in accumulations, wearing, erasing, emptiness and chaos. A wild garden, here; the cycle of life and death; nothing is destroyed, everything is alive, wearing out, continuing. The clock: the Bosphorus. This city is way, the passing of. Here as nowhere else I perceive something of infinity, of the unceasing mixing of times, constant flux, appearing and disappearing; the presence of other times at the edge of the visible...

This controversial, startling and hypnotic mix of music and visuals is a semi-autobiographical psycho-drama following one addict's journey from sickness to health, anguish to well being. The Chappaqua filmscape is polulated with counter-cultural icons: Allen Ginsberg and William S. Burroughs, Jean Louis Barrault and Ornette Coleman...

A military helicopter circles in the sky like an evil wasp. Chaos on the ground after the attack. A fast-paced sequence - bleeding people, burning cars and confused soldiers. Subheading: From Beirut - with Love. A cinematic postcard-greeting, so bitter and cynical, it can only come from a city at war with itself. The only dialogue in the film reveals a surprising connotation: Beirut is Paris, or Madrid, or any other metropolis. The scene is set: youth without a future, bomb attacks, drugs, arms, soldiers. The postcard has arrived.