The documentary film follows Barbora Kysilkova, a talented Hyperrealism artist, forming a friendship with Karl-Bertil Nordland, a man convicted of stealing her work from an Oslo art gallery, spanning a period of three years.

And what it takes of us to help and see others.” [5] The idea for the film came when Norwegian film-maker Benjamin Ree read news reports about the robbery of two large oil paintings from Oslo’s Galleri Nobe, in 2015.

[6] He contacted the artist, Barbora Kysilkova, a Czech now living in Norway, and began documenting her reaction to the theft of her art-work, two paintings entitled Chloe & Emma and Swan Song.

Inadvertently left running, the tape had also captured Kysilkova and Nordland's first meeting - seeking to redress the loss felt from her work being stolen, and “a sort of obligation to continue the story”, the artist had approached the accused during a break to suggest that he should be a subject for her future painting.

"[21] In his review, Nick Schager from The Daily Beast describes the story as "a true-crime tale reconfigured into a unique relationship saga, replete with twists, turns, heartbreak, failure and redemption that’s as surprising as it is well-earned."

"[23] Paul Byrnes wrote in his review for The Sydney Morning Herald, "The level of trust required to allow a filmmaker to document their lives is in itself moving, but it mirrors the relationship they have with each other," adding that "The slow revelation of [Barbora's] pain makes clear just how artful Ree’s work on structure has been in this achingly beautiful true story.

He added, "Ree has a very cinematic language, shooting long shots down hallways, trailing his subjects like a French New Wave director would follow his fictional creations down a sidewalk."

"[25] Writing for the magazine Little White Lies, Leila Latif commended the director for tackling the film's themes "with gentle curiosity, never pushing the subjects to probe this dynamic too forcefully, but rather allowing it to slowly unveil itself.

"[26] David Ehrlich from IndieWire gave the film the grade B−, calling it a "a tender psychosexual tale of art and ownership" and a "nuanced and beguiling new documentary about the various things we all take from each other."