Gueller once again addresses her family. We view at the family’s house from a voyeuristic position – through the house’s windows. The figures go on their everyday lives on all their intimate, tender and private moments: a girl sings a song, a couple kisses, parents watch a fireworks display. But the seemingly clear cut situation turns out to be more complex. Day turns into night, indoors to outdoors. Different sources of light – the projector, lights, and fireworks – battle with one another and sculpt the space. Gueller breaks up the projection plane by accentuating the screen and transgressing it. The fracture is also manifested in a foreign object, a road roller, passing in front of the house, as if separating it from its inhabitants. The vehicle defines the length of each shot and times the advice the family members give to Keren.

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