The poetry of Water from Grain grows out of an apparent contradiction stemming from its seeming timelessness while it plays out on the clearly recognizable outskirts of Vienna in the years of 2011 and 2012. Josephine Ahnelt accompanies two youths, a boy and a girl, with her Super-8 camera. Her main interest is focused upon the woman, her subtle beauty and her shapely form. Black and white and silent, the film focuses upon the visual impact of fleeting moments employing lighting, facial expression and gesture rather than dialogue to conjure its atmosphere. The footage was hand processed and is hence blemished, the resulting impurities obscuring and transcending certain scenes.