Core to Barbe’s documentary process is her reliance on the camera as witness/confessor/protector. In its most potent incarnation––as pencil of nature––the camera grants the filmmaker the emotional and psychological distance to prove her childhood trauma as real and material, not invented, as her parents would have her believe. There is the detritus of her mother’s home: the magazines, the stacks of pillows and stuffed animals, the photo albums––piled haphazardly like the accumulation of so many wasted days, like so many un-reconciled memories. The tension Barbe creates visually between her mother’s dark and cluttered interior and the rugged expanse of the outside world serves as an accurate metaphor for the film’s own leitmotif: the struggle to release the trauma of the past and embrace the beauty of the right now