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The story revolves around Iris who replies "They aren’t" to her osteopath when he asks her how things are going with her husband. This confession slips out, taking Iris by surprise, and rocking her like a brutal awakening: how long has it been since she made love? But everything is fine: Iris has a seemingly flawless husband, two wonderful daughters, a dental practice with a relentless stream of customers, a nice apartment in an area she loves, friends who understand her... And she’ll soon be 50. And then a stranger plants a seed in her head: "Take a lover". Iris open Pandora’s box and candidates emerge as if from nowhere – as if it were raining men.

Accompagné de sa compagne Marie et de ses deux fils Rémi et Martin, Joseph franchira bientôt la frontière suisse pour mettre fin à ses jours. Atteint d’un mal qui ronge son corps, il a décidé d’avoir recours au suicide assisté.

The invention of censorship, which dates a few years later than the invention of cinema, pushed smutty films to go underground which is synonymous with total freedom, since banned, erotic films could become fully pornographic. 　　Banned but still produced, filmed and especially shown, these films are called “from brothels”, as some were shown in smoking and waiting rooms of brothels. It is there, or in private collections, that they went through the 20th century, waiting for the explosion of the 1970s — and the legalization of the pornographic genre. 　　Usually anonymous (and rightly so!), difficult to date, these films pave the way of this genre (minimised preliminaries, light screenplays, compulsory figures, limited duration of films…), and at the same time carrying some specific features: sometimes humour (Sœur Vaseline) and more often, a sort of… innocence, that of the all first times.

Les Cent Livres des Hommes (ORTF, 1969-1973) was a series of literary programs created by Claude Santelli and Françoise Verny, and produced notably by Santelli, Jean Archimbaud, and Serge Moati. Planned for one hundred episodes but completed at thirty-nine, the series aimed to introduce great literary works, 'chefs-d’œuvre', to a younger audience through a mix of dramatization, reading, and documentary techniques. It marked a transfer of cultural legitimacy from writers and critics to a generation of television producers, offering a new model of educational and creative literary broadcasting - 'télévision d’auteur'.

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