Slow, succinct, and hypnotic, Yalda Afsah’s fragments of cinematic language gradually settle into place. Vidourle, 2019, for example, started off with shots of young men wading around in a murky river. Nervously, their eyes shift as they look now at each other, now at something out of the frame. At first, their movements seem isolated and erratic; then, synchronized en masse, the youths become a human swarm. Only in the film Tourneur, 2018, installed nearby, did we finally see what the bewildered boys are waiting for. Five minutes in, we find our fugacious antagonist rushing across the screen,