The condition of distance, genetic to the ethnographic image, traces the elusive qualities of Samarasinghe’s mother’s past and persona as a woman of partial Chinese heritage.

Everyday states of being and decay are observed through the infinite scope of the cosmos and the restorative light which emanates from it, driving cinematic and photographic impulses.

At the centre of this film is a Sri Lankan woman accessing other places in digital form, while situated in her own physical reality. Navigating through a multitude of spaces from the natural world to man-made environments as well as virtual planes, traditional relationships between the creator, the tool, and the subject are questioned, shattered and reconstructed.

Informed by principles of psychogeography and human ecology, this non-verbal film suggests a mournful narrative involving humans and the nocturnal and crepuscular landscapes they inhabit.

This associative stream of visuals, culled from the past, reflect on the roles of art, labor and journalism in contemporary Sri Lanka, facing a dubious future ahead. Memory and ethnographic deconstruction cascade in an obliterated form, forging a dire and prescient assemblage.