A young woman chronicles her childhood of neglect and isolation.

Pauline juggles life between her kids and her work as a landscape designer where she has to fight for her place amongst her male colleagues. Her life is turned upside-down when her mother tells her that she is going to live abroad and will no longer be able to take care of her children, then becomes chaotic when she is appointed manager of an important project. On all fronts, her life takes a turn for the worse.

Pauline, 28, hopes that by moving to the countryside she will be able to come to terms with the recent death of her husband. Here, she meets François, an introverted man of about her age whose emotional wounds run much deeper than her own. Forever scarred by a childhood tragedy, François lives a prisoner-like existence, guarded night and day by his authoritarian father and intrusive sister. Pauline and François discover a common bond in the fact that they both desperately want to start a new life, but lack the confidence to do so. At first, they find it hard to communicate with one another. But, gradually, they find the words to express their feelings and begin to realise that each has the power to set the other free...

Pauline regains her freedom when her husband dies, but her silence about the event places her under suspicion.

Pauline Kael (1919–2001) was undoubtedly one of the greatest names in film criticism. A Californian native, she wrote her first review in 1953 and joined ‘The New Yorker’ in 1968. Praised for her highly opinionated and feisty writing style and criticised for her subjective and sometimes ruthless reviews, Kael’s writing was refreshingly and intensely rooted in her experience of watching a film as a member of the audience. Loved and hated in equal measure – loved by other critics for whom she was immensely influential, and hated by filmmakers whose films she trashed - Kael destroyed films that have since become classics such as The Sound of Music and raved about others such as Bonnie and Clyde. She was also aware of the perennial difficulties for women working in the movies and in film criticism, and fiercely fought sexism, both in her reviews and in her media appearances.