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The video intervention examines a scene from Antonioni's L'eclisse and frames the racist and sexist structures with which the film operates. The main character of the film visits her neighbour, who is the daughter of Italian colonisers. Her apartment is full of souvenirs. The female visitor, inspired by the interior, "blacks up" and adopts an imaginary ‘wild' and ‘tribal' dance. The video intervention tries to reveal the patterns of framing non-white culture as ‘otherness', a projection charged with a conception of uncultivated wilderness. In combination with an objectified female body, this position connects otherness with ‘naturalness' and ‘bareness'.

The fragility of a TV signal reveals an experience of shock and delight.

Hemo is a musician who has embarked on a journey to Iran by train in order to have his old Persian string instrument repaired. The film accompanies him and his santoor, documenting the interesting, contradictory and entertaining reality of the stretch from Istanbul to Teheran. An interweaving of Hemo's impressions of his first trip to Iran with the opinions of his fellow travellers and the railway staff, as well as Iranian television propaganda. The result is a complex collage – highlighted with Anatolian santoor music – in which freedom, religion, travel and Iranian-Turkish stereotypes are made the central theme.