By adopting a non-human posture, without disguise or commentary, Andros does not play: he inhabits. He engages his body in a tenuous, affective, almost naive attempt at cohabitation—but rigorously maintained.

It is neither an animal performance nor an allegory: simply a slippage, a refusal to stand upright, to stand above.
Contact with the ground precedes all speech. It is an attention without language, a way of making oneself available without imposing oneself.

The pigeons, momentarily disturbed, eventually tolerate this ambiguous presence. Their response—neither panic nor welcome—encapsulates the logic of life: active indifference, integration without validation.

Wingbeats, friction of paving stones, hesitant movements.
A scene without symbolic relief, but full of sensitive depth. A fixed shot where nothing advances, but where everything is negotiated. An attempt at gentle infiltration into a non-human society already tired of our presence.”