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在爱丽舍宫，总统目睹了他的卫生部长自杀……这是一个精彩且充满波折的政治寓言故事，由拉希达·布拉克尼（Rachida Brakni）、蒂埃里·诺维奇（Thierry Neuvic）和理查德·贝里（Richard Berry）共同演绎。一天晚上，在爱丽舍宫的私人寓所里，极受欢迎的卫生部长弗雷德里克·达勒姆（Frédéric Dalème）在与总统进行了一场激烈的讨论后，开枪自杀。

Friendship, Dialogues (silences) is a conversation between ideas (present and missing) in contemporary materialist film; here, the impersonal documentary conceives itself to be an artifact of its past anarchic potential; this is the trajectory of attention, recursion, and transformation. Wherever there is a limitation imposed, there is always an implied area beyond the limit; this is the nature of the pact between parallels: if ever they should meet, it would be where endlessness concludes; the path is labyrinthine and ruinous. On image, text, sound (otherwise and beyond): they are empty except for what they perceive to grasp in the other; they model consent for attention as well as inattention; they are a concrete reality of each other in absentia; ‘I hear what I read, and I see what I read!’ “There is no friendship where distance is not kept and respected.” (Simone Weil)

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Eugène Goupi returns to the village where he was born, where his parents want to marry him to a cousin. His uncle, Mains Rouges, gives him a somewhat chilly welcome. His return coincides with the theft of a large sum of money and the assault of his great-grandfather.

Creuzeville, a small provincial town with its woods, its countryside, its ramparts, its mass and its little Sunday cakes. A stranger arrives. He's a private investigator in Creuzeville, over which an old family of industrialists reigns, a murder has just been committed. The victim is the founding ancestor of this small empire that has outgrown one man. In Creuzeville, we hardly like foreigners, especially if they are vegetarians, perhaps homosexuals, undoubtedly anarchists like, precisely, this detective. However the detective by whom the scandal broke broke the silence of the city by going to the heart of family secrets hitherto well hidden behind purple shutters. The murders follow one another. We strike on the left - a young ecologist - as on the right - a cynical playboy. Continuing to dissect the mobiles and the characters, the detective dropped the masks one by one. And, little by little, fear and violence are settling in the small town.

A young woman's boyfriend just died of a heart attack. Her neighbor upstairs, another woman, persists in making disturbing, loud noises every night, making her life a nightmare. This condominium begins a series of strange events that are going to pick the attention of a retired Interpol agent. The three women are just beginning to get into a game of death.

[…] by shooting the fish in a globular bowl, the Lumières effectively use a fisheye lens, which offers distortions. The history of cinema has witnessed a struggle between the objective and subjective camera and the optically distorting lenses like the fisheye lens has been a powerful tool for the subjective camera. Here it is at the start.

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