玛丽亚负责照顾她父亲的雪橇犬，还会观看洛杉矶青少年滑板的视频片段。一天晚上，她跟着在她家房子正面贴瓷砖的文森特来到了他居住的拖车处。随后，她发现自己卷入了一些奇怪的事情当中……

Malik Dahmani, a brilliant but hot-headed police captain from the Paris region, who, after exposing police brutality, is forced to go into hiding in the Cévennes mountains to lay low. But stuck in this Cévennes valley, which is too peaceful for his liking, as if time had stopped... Malik is going round in circles and can only think about going home. Then a body is discovered in the forest. Our cop finds himself having to investigate alongside Gaëlle, a local police lieutenant, who, like the inhabitants of this remote area, seems keen to preserve its secrets.

《虚拟时间漫游者》是一部富有诗意且极具实验性的纪录片，它传承了法国导演Chris Marker经典作品《太阳消失的日子》（Sans Soleil直译为“没有太阳”，这里意译为“太阳消失的日子”）的血脉。影片采用拼贴式的非线性叙事手法，搭配着如呓语呢喃般的神秘女声，对记忆认知进行辩证思考，尝试定义时空，解构既定知识，深入探讨后现代社会中人类面对数字化发展所产生的各种去中心化、断裂性和不确定性现象。 电影的设定十分大胆，它从网络视角来审视人类生活。导演尝试设定一个“意识”，让其从错综复杂的网络系统中苏醒，并不断提出关于存在的重大问题，其中还蕴含着庄子“汝安知鱼乐”的东方哲理。回到问题的原点，科技究竟是未来文明的殿堂，还是会让人如蝼蚁般深陷数字编织的诱人罗网，最终困于迷宫般的墓地之中？ 本片运用蒙太奇手法营造出虚无的情境，构建抽象的语义，仿佛是《超体》（《露西》一般这样意译）、《云端情人》的哲学提问与探讨科技主宰人性的黑色小品《黑镜》的混搭。在这个个人行踪被大数据掌握的时代，看完这部影片，或许你对待手机的方式都会随之改变。此外，本片还利用虚实交映的手法采访了未来主义学者Raym...

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Maussane, at the very heart of the French region of Provence, with its olive trees and its charming squares. Deputy prosecutor Elisabeth Richard and local police commander Paul Jansac are investigating the murder of Caroline Autiero, wife of an old mill-owner. Working together, Elisabeth and Paul lift the veil on a dark and secret story. Soon, three heirs of olive-grower Virgile Vendroux are dead, one from suicide, another murdered and the third in an accident where the motorbike turns out to have been tampered with. Anonymous letters provide new leads to follow, but raise questions: who is helping the investigators? And who was manipulating the victims? Is it Laetitia Vendroux, a beautiful beekeeper and Virgile's daughter? Or her brother Mathias, watchman at the Glanum archaeological site? Or Virgile's ex-wife, Mathilde? The truth could be even more complex. Virgile has led a double life, with another family and another son, who isn't his own but whom he loves as such.

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With their faces of sweet lunatics or lighted beaufs, citizens of the ordinary or pochards between two wines, they interpret, in twos or threes, conversations seized on the zincs of the bistros or in the corners of our kitchens. A few minutes of delirium or absurdity. The Deschiens are the actors of Jérôme Deschamps's troupe, who, as usual, with his accomplice Macha Makeieff, track down the little nonsense of everyday life, between humor and ferocity.

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