This film is a chair on the horizon. A chair on which a tired filmmaker sits to fulfil his final dream: trap the wind. It does not matter in which desert or in which point of lost Asia this chair is placed, as the tired filmmaker will make it there to do what he has always done: wait. It is also a film on this: on the unpunctuality of the wind. The film according to Ivens consists mainly of capturing what is invisible –he did it with the rain in 1929- and a filmmaker strives every other day to attend this meeting with the wind although the other part is always delayed. At the age of 90 and with a brilliant career under his belt, Joris Ivens shows his seniority in this final gift. In search of the wind, his rucksack is filled with the poetic side of all the legends that are revealed: a kite exhibition, a mask that creates air with its fierce blowing, the trunk where all the winds hide. In short, it is a song that was left to us just before the death of the Dutch director and which was made by his wife and filmmaker, Marceline Loridan, masterfully accompanied by the wind notes of the clarinet player from Bayonne, Michel Portal.