With the sound effects of passing trains, running water, and wind, plus exquisite imagery manipulation with the optical printer, Meter pays homage to the fragility of celluloid, as well as our own vulnerable materiality. She treats emulsion as if she were touching skin, with the same attention, permissions, and apprehensions, actions and reactions. Meter’s camera attempts to delicately interact – somehow connect – with the images, and with the light and movement that emanate from them. There are no statements in this film, but fragments of music, including Francesco Tuma’s Stabat Mater, a Latin hymn on the depths and weights of human suffering and sorrow.