Lost in Export takes as its materials classic scenes from history of film and video art, and nurtures, via an idealistic presentation of affections and romances, a seemingly credible relationship between two groups of characters. The artist appropriates figures and characters that can emphasize the universality of plots, and creates a chain of texts that interact with one another by amassing intertextual dialogues, flashbacks and juxtapositions. The artist grants relevant references to natural scenes that play a significant role in the narratives, abstracting from it perceivable typical elements. Through composing narratives, the artist contemplates the emotions and experiences that are fictionalized in contemporary society. In this work, the artist continues her research-based practice, develops the discourse on the credibility of narratives initiated in The Edge of Vison, or the Edge of the Earth, and proposes a reconsideration of “classics” in art. By repeatedly testing the audience’s anticipation of “truthfulness”, the work attempts to hint at this reality: films can via a commercial model influence our real emotions, change our needs in everyday life; in turn, human desires modify and future new commercial models, and this nightmare goes on.