The film was shot and edited in "real-time" over the course of a year. The crew and actors met once or twice a week during 2016. Sometimes the scenes were planned beforehand, but more often than not they were dictated by the actors on set. The director very rarely interrupted the long takes, in order to wait for spontaneous, authentic moments unencumbered by the constraints of time and dictation. Sometimes the directions, actions and motivations were delivered through text messages days or hours before shoot. None of the actors knew where the film was heading, who would end the in-film relationships, and what shooting day would be their last. Break-up scenes were only announced moments before shooting, and only to the actor doing the break-up.
Film director Niels Holstein Kaa and fellow screenwriter Magnus B.B. Lysbakken drew inspiration in the constantly ongoing writing and editing process from artists such as Abbas Kiarostami (Close-up), John Cassavetes (Shadows, Faces) Woody Allen (Manhattan) and films of the French New Wave, such as Godard's "Masculin Féminin". Further inspiration came from the early naturalistic films of danish film directors Bille August and Nils Malmros.
Competed, among other, for best Narrative Feature Film at the Sao Paulo Int. Film festival (41ª Mostra Internacional de Cinema) and at Slamdance (2018), Utah, where it received an Honorable Mention from the jury, as a main competition runner-up.