Philosopher Paul dies, leaving his partner and a three-year-old daughter. Another son of Paul, young Alexandre, comes to their door. The three will travel in mourning. The film is forged out of a door left open by Paul: “modal realism”, the idea that any description of our actual world might be the description of another possible, parallel world. This has amazed us for centuries. In the film, this concern becomes an exercise of shooting and experiencing affection.