Vincent Dieutre opens the exploration of his district of Paris, Bonne Nouvelle, with a 360° pan shot. Lovemaking follows this circular movement, the image of an unmade bed, the starting point from which the filmmaker sets out in search of lost time and territories, so as to observe their geographies (empty or busy streets, building entrances, covered passages, workshops, etc.) in uninterrupted shots, from which slips the soft murmuration of the metropolis on which stories of flirting and drugs perch like injured birds. But these “classic” shots are pierced by brutal and random zooms, which disrupt the right distance, making the objective gaze cross-eyed, banging against bodies and faces, anonymous and potential avatars of the characters staged in these micro-stories that serve as fictional parables, told by three voices with Eva Truffaut and Bojena Horackova. Dieutre also inserts shots of the studio in which the voiceovers are recorded into this urban perambulation. The bedroom and the studio are two workshops in which the city, an endless source of docu-tales, is formed.