Reality is that which is missing the most. An émigré film is acutely aware of the rupture of ties with the usual reality, at the same time it creates a new one and immerses itself in it. The film is in search of a hybrid genre, it presses the boundaries of video art and cinema. At the same time, Émigré explores the possibility of film as a form of literature. Based on the émigré diary tradition, the film creates a visual sequence that is transparent just enough that the past shines through it and superimposed on images of the present. This is how a certain synopsis is created, a summary of not a movie, but a segment of life. The characters in the film talk about their deeply personal traumas in front of the camera, and the experience of these traumas becomes their new reality. This is a film that could not be made, but could be found by its characters. Such a film cannot have a director or actors, only accomplices and victims. Development not only in content, but also in the perception of the image itself, the static nature of photography, the contemplativeness of video are mixed with traditional cinema tools. The film shows the figure of political silence. In the political field, the film speaks of those events that are no longer possible to remain silent, but it is still impossible to speak out. And the more Émigré resists the narrative, the more it sinks into it.