Aiming to undermine both traditional Hollywood narrative cinema and the experimental films of classical modernism, Lithuanian-born filmmaker Jonas Mekas explores “subtle, almost invisible acts, experiences, and feelings” in this lyrical work, lasting nearly five hours and divided into seven chapters. Edited from diaristic footage of the artist’s life in New York between 1970 and 1999, it follows the circular, fragmented structure of the filmmaker’s own memory, which revolves around “brief moments of happiness and beauty” and refuses to analyze or deconstruct the past. Mekas asserts at one point that this is a “political film”—a kind of cultural discourse that has little to do with direct political activism.