While her mother, Natalia, is relatively well-off and living in Brussels, the portrait is instructive all the same. Discussion of what happened never takes place, at least directly, but it casts a pall in other ways. The film begins with skeletal branches being ruffled by the wind, followed by Natalia mending a dislocated shoulder. Landscape shots, either stable or en route to an unknown destination, later puncture footage of Natalia, half out of it, either passed out or coughing, ambling around the house. Natalia tells, at one point, of hitting her head when she broke her shoulder, causing lapses in memory, partially affecting her knowledge of Hebrew prayers. Her illness is never specified, but symptoms speak to a larger struggle.