Nashashibi chose to portray the dancers of the Scottish Ballet indirectly, reflected through mirrors and through the eyes of local people from Glasgow’s Southside who are invited to walk into closed rehearsal without the dancers’ prior knowledge. Mic’d up but still encumbered by coats and bags, they peacefully invade the private world of the Company. Concentrating on the gaze and murmurings of the non-dancers, and the bodies and breath of the dancers, she draws attention to our own projections, dreams and longing attached to the mythology of the ballet dancer. The flow of power through looking, the difference in weight and substance of archetypal gazes: be it policeman, ballet dancer or ‘local’, are at the heart of this film.