This film is organised around objects and their tendency to live their own lives and to engender a multiple, labyrinthine narrative. Gradually, these objects become associated with gestures: grasping, caressing, rubbing, throwing, breaking, selling, stealing, playing. From these uses arise situations and characters that weave a palimpsest-narrative in which the thread of images intertwines as in a tapestry or the carpet in which – why not — we catch our feet because the objects become clues, false leads, all within a playful dynamic. The set is on a scale with the city of Marseille. The city whose pulse races is inhabited by continuous, uncontrolled movement that is always going beyond its limits. Over the period of a day, objects deploy their uses, coupled with the action of various figures: a house cleaner/fisherman, an artist and vanitas painter, charming thugs, an old couple of sado-masochistic lovers, a young woman in red with black, white-striped tights, or again the king of the antique dealers. Everyday life slips gradually towards absurdity, and the narrative becomes an objeu [object/game], to use Francis Ponge’s term. Hence the explosive encounter between a stiff brush and a hairy wallet, a cafetière takings a bath, an orange weeping (the cause of its grief unknown), gloves breathing deeply from a good morning of cleaning, a rope weighing anchor then binding lovers, a bag stolen, a life buoy seeking to understand terrestrial life, and everywhere drawings flying and dice being cast.