During the initial months of the Covid-19 crisis, while strolling through the alleys of the residence, I took numerous photographs of buildings’ windows, paying closer attention to the architecture during daylight and to social life at night. However, since most windows lacked curtains, ethical concerns arose if I was invading people's privacy by photographing their windows intrusively without their consent. For the sake of the project, I focused my attention on lights and the few objects placed near the windows, mainly hanging clothes, rather than on individuals in compromising situations. I frequently noticed that amidst the multitude of windows, the contrast between cool and warm lights mingling with the darkness of the night not only evoked a sense of magic, but also smallness in facing such dazzling presence of life. I would contemplate these lights as artistic compositions that triggered my imagination, as behind them could be a family sharing dinner, a father telling a story to his daughter, people doing sport, a couple watching TV or making love. A lightened room hides infinite possibilities that do not necessarily need to be seen but rather imagined. It is this reverie without malice that could almost free us from temporality, awakening an echo that is hopeful towards life in its various forms.