Each day, Jean-Philippe Wauthier welcomes guests on the show in warm, friendly setting. His interviews focus on their newsworthy achievements but also, and most importantly, on their passions, interests and opinions.

Having first lost his wife then his job as a tweed tailor, Alex Ponttin has devised a novel way to keep himself in touch with society. He admits himself into people's homes, by pretending to be a relative or an official, and persuading his victims to give him a night's free board: He finds at first a lunch at the horrible couple Dumont, where a thief follows him for a robbery. Alex spent an evening in front of TV at Marie, mother of seven children. He runs from Marie to find an evening and a new bed at the home of charming but shy lesbian Caroline and her funny lover Gloria. To save her inheritance, Caroline - accused for her homosexuality by her horrible sister Catherine - tells her aunt Amélie, that Gloria is her secretary and Alex her lover. So Alex has to present himself nude in Caroline's bed. He saves Carolines inheritance. The police officers investigating the case are so terminally stupid that Alex has little chance of being arrested.

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A foreign pianist who comes to visit Paris is ripped off by a young man and his sister. But he soon falls in love with this one.

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A love song for the dead, We Had the Day Bonsoir reaches beyond mourning and eulogy – towards something eternal. With fragments of intimate documentary sound and film, Narimane Mari captures a vivid yet oblique portrait of her late partner, the painter Michel Haas. It's an ode to a specific life through the eyes and ears of his lover, but also to life itself. Through her eyes, we see someone full of that life right up to his final days: on all fours painting in the dirt, laughing childlike at Chaplin, swearing at the camera. But Mari seems more concerned with listening: to voicemail epiphanies between the two lovers, to an unanswered plea from Haas's doctor, to the lapping of waves. With these lyrical fragments, the film often ponders along with Haas and Mari about the impossibility of endings. How the ‘illusion’ of time passing clashes with the will of human stories, and of art, to endure. “Every soul is a melody that needs to be renewed”, Mari says, bidding us listen. Because, the film keeps reminding us, what we see intimately of Haas and his work is only a glimpse of what always remains – just off frame, out of earshot, after the final cut. 源自：https://iffr.com/en/iffr/2023/films/we-had-the-day-bonsoir

An early short from Gaumont by Alice Guy-Blanché. A woman becomes slowly visible in front of a black space. She points a wand and spells the word “Bonsoir” in colored letters formed from flowers.