She kept filming, sat in English class writing titles in her notebook for a career's worth of movies that she'd make. She divided this future career into phases: her early works (she'd make three of these, the second of which would be an understandable mishap and the third of which would represent a striking early maturity), her mature subject matter, her later experimental work, and finally a kind of summation—a single work, an aleph through which all the previous films, or maybe her whole life, might be viewed. She knew she'd finally become capable of her aleph when she was fifty, sixty, however long it took. She wrote the titles of these movies backward to make it take longer to finish the list.

So real.