To the last
The sun is low, it had to have been raining shortly before. Drops have formed on the windshield, you can see them from inside. Three men in black suits are working on the car, with screwdrivers and their bare hands. They wear sunglasses, resembling the alien-hunting agents from Men in Black. Immediately afterwards, the camera pans to the right and a woman comes into view. She, too, is all in black, wearing a leather jacket and Lara Croft sunglasses, her dark hair tied in a bun. Her gloved hands reach for the hood, which comes off with a quick jerk after the tinkering, the black-painted metal gleaming in the evening light. The woman walks around the car as the camera follows her every step.
Around the wrecked car, on stone steps, sits a curious audience. It watches as the young woman lines up the lower part of the rear row of car seats on the floor next to other individual parts. Film cuts reduce the scene to ten minutes. Ten minutes in which the four strangers continue to dissect the vehicle until they finally hit the wreckage with axes and sticks, tipping it onto its side and back again. The ex-car, a Mercedes, literally consists only of its individual parts. Finally, the four pose in front of the vehicle, which has become scrap metal, like the Men in Black on a movie poster, right in front: Selma Selman, as the credits reveal. The men: her brothers and father, who helped her make Performance Mercedes Matrix (2020).