This film lives in the gaps — between surveillance and intimacy, between light and the absence of it. We're not documenting a run. We're catching something that wasn't meant to be caught.

Long lenses from above (Maslak is full of skyscrapers. Strobes that fracture movement into something almost violent. Shadows that arrive before the person does. Wildlife cameras that don't care about beauty — only presence.

The runner doesn't perform. They don't know we're there. And The camera isn't a creative tool here. It's a trap that was already set.