It's night. A girl and her boyfriend can't sleep. After a day of unsuccessful attempts to find a proper job, they don't want to suffer life "as it is" without having at least tried to change something. But before you can change, you have to reflect, and that's what they do during the course of this small-scale, but yet enchanting art-house picture. First in their bedroom, and then wandering around the streets, the two of them exchange their perspectives on life in the big city, as part of a crowd, as a small wheel in the capitalistic machine, and ultimately as seekers for happiness and relieve. The dialogue is sort of a voice-over-soundtrack to more or less blurred images of anonymous metropolitan images, which are from time to time interrupted by a return of the camera eye to the couples' bedroom where the exchange continues – or still takes place, since it is unclear where they are positioned precisely. While the girl outlines her problems with having an identity in a world where identities don't mean a lot any more, the boy takes the position of an almost Socratian questioner, leading her to refine her views. While in one way sharing the idea that something can be done to alter society – a society more dead than living, more mechanical than solidary –, they also share the notion that exploitation (to some people, by some people) is inevitably an (albeit ugly) part of the way people use to live nowadays. Buy isn't the real tragedy the fact that while noting that and trying to escape to a better way of life, you doing nothing more than reassuring the system? Questions are tough in this one, a film where an average couple takes on a sort of "amateur sociological perspective" to question the world they live in. Not easy, but appealing nonetheless.
