After leaving Afghanistan, Nasim got to the refugee camp in Greece through Iran and is staying there as of 2020. Although she is drifting, deprived of her “right to belong” due to war, discrimination, and poverty, she seems quite calm in the camera. However, the noise often coming from outside the frame suggests that she’s simply stagnant due to repeated despair and unresolved anxiety. As evidenced by this, Nasim wishes for divorce, yet cannot make her mind. Coincidentally, the situation changes when a large fire breaks out in the camp. In the moment of screaming and crying, the film develops cross-editing with artificial sound. It was no longer possible to simply observe—it had to intervene. Nasim escapes the camp but soon the road is blocked and the film returns to its original stance. Then suddenly, Nasim looks into the camera that was following her, and the shot stops. It is a kind of reversal and reaffirmation of rapport. Now it's no longer surprising to see her raising her voice towards men, calling for freedom by joining refugee rallies, or even wearing a snapback over a hijab. Nasim went on. The position of the camera has changed also.​