In the film, Jonas uses video as a diaristic construct to chart the passing of personal time through quotidian ritual. Over three different periods in New York and Nova Scotia, she videotaped herself every day, briefly addressing the camera upon waking in the morning and before going to bed at night: "Good Morning." "Good Night." This journal evolves into a self-portrait that is at once distanced and intimate, public and private. Observing herself as the viewer observes her, Jonas addresses the mirror of video as a vehicle for monitoring identity and change in time. Though her minimalist adherence to a controlled system of documentation is a rigorous conceptual conceit, Jonas' repetitive salutations are performed with more than a touch of irony.