A quiet Sunday afternoon in an aristocratic family home, just before the fall of the Austro-Hungarian empire, is disrupted by the unexpected arrival of relatives. A poetic, dark, and somewhat humorous social observation where familial relationships are broken down and dissected into pieces.

A conversation between grandmother and granddaughter through their notebooks. Using the landscape as the main character, they exchange experiences and reminisce about life’s journey. A dialogue about death, writings and drawings as archive, migration, and the loss of memory.

Superimposing images from disparate family albums, the director creates new connections between signifier and signified. Figures within the film align with the audience's gaze, as we look into the celluloid void. A new landscape emerges from entangled roots.

Buddha's Hand is an unusually shaped citrus fruit with finger-like extremities that flex and bend as it grows. The film explores a mother-daughter relationship as it shifts and expands. Fruit and family resemble, refract, and react to, each other.

A group of nuns lives in a monastery in happy harmony. While working in the garden, one of them digs up a man. The resulting dreams cause her to lose her mind and fall out of step with the rhythm of the convent.