1974 saw the end of beans. The Halles were being destroyed. The extreme left was hesitating between the Molotof cocktail. The heirs of May '68 had not yet taken power, and desire was still in the streets. The characters seek an escape from their social alienation. We don't know whether they're living their desires or prisoners of hallucinations.

Alice and Edgar, nicknamed "The Captain", lead a rather miserable existence. They are embittered by life and reject each other's failures.

Stéphane Blanchon, who teaches at the International College, lives a quiet comfortable life in Geneva. He is married to Christine, a cold, dry-hearted woman, and his sentimental life is reduced to zero. One day, Belle Shermann, an American student and daughter of one of his wife's friends, comes to stay at their villa. The teacher hardly notices her. But his dull uneventful life is turned upside down when Belle is found strangled to death.

A sinister fortress on an island where the sun never seems to shine. An officer whose values have long gone a thing of the past.

Comic scenes taken at the Nouveau-Cirque by the two famous clowns Foottit and Chocolat. During a battle between Foottit and Chocolat, the latter, who received a slap, plays dead; a stretcher is brought in to carry it away, but the prankster passes under it and happily performs a few gambols while the carriers believe they are carrying away a corpse.”

A collaboration in which Robert Wilson and Heiner Müller let Molière die, imagine his death in tableaux with text passages recited by Müller himself. "Cinema watches Death at work." Wilson's actors watch Molière die: their vigil is hard work. Müller's comment: "The poem watches a dying man at work, his name is Molière. The poem is not a film. The film watches an actor playing a dying man called Molière."

They stick to our skin and soul, our clothes. We believe we buy them, they own us. Warning ! these rags are traitors: far from dressing us they expose our complexes, our moods ... Clinging to their hangers, to our memories too, they exercise an underhand dictatorship. Snuggled up, huddled together, they build a bulwark against oblivion in our closets. Often stained for eternity with ink or redcurrant, impregnated with perfume, tears sometimes, piled up or messed up on our shelves, they remain forever linked to the happy or unhappy chapters of our life. It is through the evocation of their wardrobe that Gigi, Eve, Marie, Nora, Françoise, Amanda, Lisa and the others evoke the past, missed appointments and those that changed their lives, the joys and childhood revolts, giggles, disappointments, dramas, parties and hopes too…

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