The camera takes a peek at a mother and two daughters in a car, interrupting them midsentence. Shots of a mountain view and an airplane. What we are seeing are a family’s holiday videos from the 80s, when another layer appears on top of the picture. On it two voices comment on the home videos with differing interpretations.

One of the voices belongs to director Emma Tusell, who can be seen as a child in the videos shot by her father. She searches for the truth about her family, but the truth is hiding somewhere in the editing, between the takes or off-screen.

With an editing programme Tusell rewinds the sequences again and again. She pauses the video, points at sad eyes and angry faces, trying to prove right her interpretation about her troubled family. But is sorrow strengthened by skipping past the joyful bits? What is the importance in the act of recording? Eventually Tusell continues her father’s path recording the important moments in her family’s life.