Someone once said that a film is a medium for recording time. This film frankly shows what power the time recording has. examines three years in Iraq after American and Coalition troops’ retreat in 2011 through a camera of Nori Sharif, a nurse at a general hospital in Iraq. Nori Sharif, who had changed his nursing position to the war’s wounded from general patients since America occupied, started filming his life and lives around him after independence. For three years, Nori Sharif rapidly went through changes from being an emergency room nurse to a refugee, from a father of a family to a father of three families due to his brothers’ deaths. But he feels still grateful to be with his family. The film doesn’t focus on international ideology covering Iraq nor Iraq’s internal political situation. Rather, it contains common Iraqis living their ordinary lives. Enjoying dances and music, not living with macroscopic point of view or for a cause, ordinary citizens of Iraq believe in their God and show their gratitude to him and Nori Sharif records what these people are experiencing, to be accurate, have to be experiencing because of the war in the first person viewpoint. The eyes and space of Nori Sharif as a man of the middle class as well as a curer means a lot in that sense. Not with a viewpoint of a victim, but of an observer transforming into the person in question, the film awakens us that we are not far from the lives of people suffering from horrors of the war. The film title indicates that we have ‘no where to hide’ on the one hand, and it also says that ‘now here (for us) to hide’ in the present progressive form which points out the current status of Iraq. [Lee Seung-min]