Documenting a phone call to the 'Norwegian directorate of immigration', this film is about a group of asylum seekers that have been 6 years in Norway without basic human rights. It's a study of the power of language, and shows structural problems in the Norwegian politics on asylum seekers.

The camera is pointed to a coffee table at all times. For each new scene a different object is placed on it. There are no visible people in the film, but one can sense the presence of someone behind the camera doing his utmost to destroy the things on the table.

A choreography for two imprisoned eyes shows two eyes using a beauty tool to shapen the eyelashes. A macro exposure observes the separate, slow movements of the pupils in the static frame of the beauty tool. These blown up fragmentation of a body part provokes a high level of abstraction. The eye loses its eye-dentity. The tiny metal sticks of the beauty tool may seem like prison bars; becoming an architectural magnitude. The pupils transform to ensnared creatures kept imprisoned in two separate cages; moving, sometimes slow, sometimes fast, communicating with each other – almost as if performing a zig zagging dance.

A woman, or one who appearing to be so, dressed in a traditional costume is holding up a mirror in which she sees the stars of EU flag. She starts to sing a song in which she declares her unwillingness to marry someone (read: join the EU), and hoping for a better future in solitude, singning the contract and seling out the white linen from her brides chest. But suddenly she finds that there is dirt/oil in the bottom of her chest, the stars of the EU are fading and reportage images of excessive consummation, environmental catastrophe and third world starvation follow.