Playing god in seven days, from chance meetings in the Zurich airport to finding moments of serendipity and bliss, to capturing moments of tension and decay, nudging the viewers towards playing God in their own lives. Through close observation and her experience of being the watcher and not just the watched, Karalla offers options for quiet defiance in a surveillance society. She may be watching the lovers in Atlantis, but they continue to kiss despite her eyes on them. She may be watching the residents of I Sassi de Matera, but they boldly defy her gaze by continuing on with their own lives. The woman in Man/Woman breaks out of the controlling movement of her partner as Karalla looks on and records.
Here is where playing God ends. The artist and the viewer are not omniscient, or omnipotent, but little by little they can seize moments back from the cops and the robbers in their lives, shaking off the watchful boundaries that society has imposed on them, and begin to live dangerously until the end.