The film evokes the mysterious process by which the objects we see in the studio—the wires, pipes and cut sections of sheet metal—was transformed into the airy and poetic assemblages floating in mid-air for which Calder is known. Changing the camera’s point of view from inside to outside and filming the atelier through windows and glass planes, Barba adds visual layers that increase the impression of temporal standstill but also seem to caress the surface of all objects. Some filters are applied, turning the film image red or solarizing it. This increases the slight anachronistic effect, recalling the aesthetic of the elder artist’s heyday, but also adds a mysterious notion of irreality.