Rosier’s body of films, gleam with that indeterminate in-between glow of twilight. Things hardly move at all in her films. They are, quite simply, often without plot, without spoken voice and without narrative elements. Such is the case of Far from Honolulu (2003), a film exploring the plight of intuition and emotion inside the idea of the sea journey. In the film, a pensive and reflective man is depicted playing guitar at sea as well as from inside a boat looking outward. Airy and divine-like, he is shown sleeping, in a trance state, staring out to the ocean, waiting for the journey to pass, progress, in order to arrive somewhere, but where? There is mention of Recife, Brazil, but one gets the sense that figure and place is almost other-worldly or mythic. This is further highlighted by the repetitious sound of the ocean’s waves. The ending of the film is quite arbitrary, expressing a clear desire to not illustrate an end or a narrative, but another kind of vacant agency close to immediacy and the present.