Strangers meet for the first time playing an escape room organized by their company. When they get there, everything seems already solved, the room is in a terrible mess and the padlocks and the safe are opened. While questioning the reliability of their situation, they engage in a desperate search.
“Everything must be started again, except hope. Be over it, disenchanted. We must now invent poetic arts without ideology, without adolescent utopias, better adapted to what poetry can do. […] It is the energy of despair, which must be exchanged into paradoxes, impossibilities, into joyous restraint.”¹
Four characters who do not know each other meet for the first time. Each has had a different kind of career but all work for the same multinational. When the film begins, the four of them are about to play an escape game. In this game of investigation and riddle-solving, the participants are confined in a kind of set where they must find the clues in order to solve the main mystery. The game is timed and can take place on several levels. These group games are particularly popular with major companies, who are always looking for new methods of team building.
In contrast to a conventional escape game, the one that these four protagonists are playing is hugely chaotic. The game has been solved and the mystery revealed As a result, they are in a space without narrative, looking for a solution that has no mystery attached. And yet, through a series of dialogues in which they reveal fragments of their experience in life and at work, the four characters manage to recompose a narrative. A new diegesis develops and evolves in keeping with their discoveries.
¹ Michel Deguy, L’énergie du désespoir, ou D’une poétique continuée par tous les moyens, Paris: PUF, 1998