Gaza, in the past. The painter Mohammed Imrani grew up here; now he lives in Paris. Faced with the destruction of the urban landscape of his youth, he begins to sketch what no longer exists. With the act of drawing comes memory: streets and buildings, places that hold personal significance for him – as personal and intimate as the strokes with which a threatened city comes to life from his hand. Cinema as a place where remembering becomes a living act that resists against destruction.