Three places offside: people on a street in Harar, Belgrade, and a favela in Buenos Aires. The camera shows fluid and recurrent patterns in the moves of people and detects stories in people's faces as they become transparent. Our glance encounters three unimportant scenes and is thrown into the depth of the moment, into a microcosm of time that one can only enter from the edge. 4s the persons and their identities seem to disappear under the observant gaze, the camera moves closer to the passers-by in the third part and loses itself in a moving void without centre.