Two different environmental worlds awaken on each side of the screen: a sunrise over a refuge camp in the Middle East, and light rays passing across a street in South Africa. Atmospheric elements and cutaways complement each world as morning begins.
A young boy grabs a soccer ball and moves stealthily through his family’s tent at dawn. His small hand with slightly cracked skin pulls back the tent’s flap, revealing long line of tan tents, silent in their uniformity. As he steps out from the tent, another foot hits ground in South Africa.
Sand buries around the foot of a surfer wearing a dark wetsuit. It is barely dawn in this new setting, sun peeking through charcoal clouds that seem eery in their stillness. The only motion is the surfer’s fast-paced steps as he picks up pace and runs down a rocky beach towards the water with his board in tow. His final leap plunges him into the water and white, foamy spray engulfs him.
Suddenly, water sprays through frame as fishermen pull their morning catch out of the ocean into their rustic boat in one fluid sweep, silver fish wiggling through the dark net, glistening in the morning light as the fishermen’s sweat trickles down their sun-stained skin. Their energy shows that they have been up for hours already as they celebrate their catch. Each scene becomes connected on either side of the screen through human movement. Every shot following the start of the film begins to tell a story as life unfolds before us in three different worlds, seemingly happening simultaneously.