Incorporating footage of housing throughout Merseyside, Yang’s film opens a new chapter in the ongoing story of a prospective utopia facilitated by urban design. Yet it is a chapter with no middle and no end, for the film exists as a never-ending sequence of beginnings – promises of what could be. The camera scans terraced streets, apartments and gated communities like the opening frames of soap operas repeated again and again. A blue screen flashes between each shot – a space to project our own wishful scene. Yang’s narration, based in-part on the return of his parents to China after he moved as a child to Vienna, transforms the film into an allegory of universal aspiration and promise.