Spying is equal parts diary film, structural film and conceptual film. The filmmaker “spies” on neighbors, passersby and day workers—whomever is visible from the vantage point of his camera as he gazes across the San Francisco cityscape. The film is a subjective portrait of the neighborhood: the routines of the inhabitants, their unconscious gestures of domesticity, an intimate look into the private moments of strangers as they are caught unawares by the voyeurism of Joe’s camera.