Daniel Mann's video consists entirely of existing raw materials: Super-8 films shot by his father during the family's world travels were edited to form a new meta-narrative which is no longer real, but not invented either. The use of the original footage taken by the patriarch over the years subverts the father's status as leader of the familial narrative, undermining his authority to recount the single, representative story, instead introducing a very different narrative alternative; a structural deconstruction of the nuclear family. By means of external narration, an obscure story, possibly historical, possibly futuristic, is constructed and spun, generating great tension and leaving the viewer alert as the sense of catastrophe hovers inexplicably in mid-air. Appropriation of the original footage and its re-editing expropriates it from the traditional familial context, infusing it with a new implied context. The recurring crucial motif is the search which is also a flight, the eternal drawing away from home in a circular route of wandering which has no clear finish line. The link between the private home and the national home is implied throughout the film, yet not explicitly specified. At times it seems like a propaganda film, at others—like a documentary about a family of refugees seeking a new home. The title contains temporal reversal, the mixture between cause and effect, the innate inability to mediate the experience.