In three similar scenes, a character played by the artist herself displays some enigmatic behavior, sometimes appearing to be waiting only to then become emotional and start to cry. For the viewer, whatever she is experiencing or has experienced remains obscure. Sharing affinities with the cinema of Tsai Ming‐Liang and Michelangelo Antonioni, the work involves sensations of anguish, doubt, and incommunicability, alternating in an emotional flux of takes. An investigation into the dramaturgical quality of performance.