Ali Tosun, a homeless man from Frankfurt, lives in Germany under precarious conditions. We see him several times in the film, but always only fleetingly – his face remains hidden. Only in the last scene does he sit in a car and seem to enjoy the moment.

The film deals with society's perception of people – especially those on the margins of society. It shows a homeless person in everyday, seemingly familiar situations without commenting on or explaining them. The images appear casual, almost anonymous. This reflects exactly how we often see homeless people in everyday life: not as individuals, but as part of a familiar cityscape.

The fact that we never fully recognise Ali is a central cinematic device. It refers to our own perception – or rather, to what we do not perceive. The film plays with this distance. It wants to show us how strongly our view is shaped by familiar images and social expectations.

Only when Ali sits in the car at the end is this visual narrative broken. The scene is unsettling. Suddenly, the image no longer fits with what we have seen before – and perhaps only now do we begin to ask questions. Why is a homeless person sitting in a car? What does this twist mean?

The film confronts us with our own thought patterns. As long as Ali remains within the realm of the expected, we accept him without questioning much. But as soon as he moves outside this framework, our thinking begins to stumble.

And perhaps we realise: it's just a man in a car. But what we see in it says more about us than it does about him.