Eight locations in Munich. Eight photographs. Eight versions. During his studies, Wenders lived in various outskirts of the city and different apartments, capturing the surroundings through photography and creating a postcard collection. These visual walkabouts, along with archival discoveries, form the visual sequences of the film. In the attic of his film school, he found an old collection of 78 Shellac records, the sounds of which feature in this work. Coincidences are meant to meet.

Throwing a spanner into the works of the “just follow the rules” German cinema of the time, Wenders explores the city in a manner of static wandering. Hyper-slowness and hyper-realism that breaks the “frames” of cinema or installation format. This often describes Wenders’ early career and his documentary shorts from his student days, inviting analogies with Chantal Akerman – in the same year, 1968, she made her directing debut with the short film Blow Up My Town. Unconventional expressions, but with the same search-oriented Wenders – returning to photographs, the still images that capture our personal memories and lost time.