The film departs from the artist’s affective references of an imagined place to create a visual essay on Beirut composed both of original footage and of images from TV films, news, and shows. Alongside his nostalgia for an imaginary place, it exploits the expectations, surrounding Beirut, of people who cannot visit the city for political reasons. Using the rearview mirror as a metaphor for looking back, the artist ponders on the perception of qualities that have no physical counterpart.