A continuous long and slow panorama describes several times over the space of a room. In bed is Chantal Akerman, first seated and motionless and then, as she passes the camera again, eating an apple. We find ourselves in front of a mysterious self-portrait of the filmmaker in her favourite place, as well as the equivalent, in her film style, of a still life: gathering her furniture together in a repetitive movement in order to enjoy it subsequently.
