Following his feature film Animal Macula, Sylvain L’Espérance explores with renewed originality the archives of world cinema, often far removed from the obvious landmarks of canon cinephilia. This time, his focus is on the presence of human beings on the move in films. With meticulousness, poetry, and symbolism, this work arranges this similar yet heterogeneous material to form a kind of relay race through eras, countries, and environments. In this way, these individual movements follow one another, respond to one another, or merge, tracing the complex trajectory of an imagined community travelling through a dreamlike, timeless memory. A solitary means of transport and a leisurely stroll, walking is also a vehicle for a common affirmation, collective action, solidarity, and even popular uprising.

On a forest road in the Brandenburg March, village teacher Potsch accidentally encounters the distinguished Professor Menzel, who got stuck there in his car. In the conversation that ensues, Menzel and Pötsch quickly discover that they both are great admirers of the early 19th-century writer Max von Schwedenow who was born in the area.

Victoire, a 20-year-old judoka, has her trans identity outed in the middle of a tournament. Sonia, her next opponent, refuses to fight her. In the following hour, the gym turns into a battleground where athletes, parents, and officials clash. As debates over fairness and safety escalate, Victoire refuses to become a symbol and focuses on what matters most: her next match.