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More often than not, close-ups of hands express more than faces (Farocki, after Bresson, was right). When the right one rests, the left takes over, coping with the storm in the glass. Even if these aren't the hands of a working man, they serve as canvas for motifs symbolizing freedom — at least the birds are looking at each other. This shallow depth of field feels deeper than it should. Are we just out of focus, or already drunk?