Yahya is falsely accused of murder but is found innocent and returns to his daily life. The staff of the textile factory he works for and his neighbors don’t welcome him. They keep glancing suspiciously at him and use varying degrees of violence toward him. His only comfort comes from the moments shared with Mahrou, his beloved wife, as they eat, walk and watch a train passing a closed station. However, his wife suffers from an unknown illness and one day, she suddenly disappears like a mirage. Around that time, Yahya is gradually attracted to Tal’at, a young newcomer at the factory. As his wife disappears and Tal’at appears at the same time in Yahya’s heart, the film gradually reaches its unimaginable end. In the film’s mixing delusions, flashbacks and reality, the gradual disappearance of life and love is superimposed on the beginning of a new life and love. Yahya’s delusions are not rosy dreams but reality-denying self-torture. Thus, dreamlike moments always turn into hopeless reality. Nevertheless, such reality makes us expect a new hope at the end. (HONG Soin)