So Far So Good accompanies the Hachmi family in their bureaucratic journey to seek asylum in Belgium. The context in which this work takes place coincides with the first period of confinement decreed by Belgium. Using the family's archival images recovered from broken smartphones, No Sovereign Author places in tension two discourses that never meet: the discourse of possible encounter, carried by a thread of daily images accumulated alongside the woman's comments on her memories; and the discourse of non-encounter — that of the State, vertical, disincarnated — rendered legible by the reproduction of excerpts from interviews and from the Commissioner General for Refugees.