Fishing Is Not Done On Tuesdays

A vast, wild landscape. The noise of rotors. A house on stilts, on a hill on Ghana's coastline. Ocean on one side, jungle on the other. The camera circles the land. A collage hewn of archive material and self-produced pictures and sounds, in which the house is the protagonist. Use of long focal length makes the archive footage appear disconnected and the depicted actions ambiguous. The architecture of the house renders it a peep box, a cinematographic device, and sets the framing for various lines of vision. They splice the great narrative with the subjective perceptions of the viewer, and the present with the past. (Berlinale)