Namir, a filmmaker navigating a creative block following the death of his mother, decides to do with his father what he was never able to do with her: say goodbye, with the camera as his witness. Namir soon finds himself delving into a family history of love and exile, mixing personal footage with scenes from classic Egyptian films—by directors such as Youssef Chahine—to illustrate moments from his mother’s life, who always wanted him to stop making documentaries and create a "real" film. The director of the acclaimed The Virgin, the Copts, and Me (2011) taps into some of his previous film’s irreverent tone in this playful autofiction, complete with finely honed dialogue, transforming his grief into a cinematic journey down memory lane. This one-of-a-kind diamond in the rough speaks more of the capacity of bonds and images to transcend time and space than death itself, with the suggestion that art never loses the power to bring the past back to life.