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A lazy surveyor is thwarted by two women whose houses he is surveying for destruction to make way for a park. In another realm of the story, a man is given a hat by another man, who asks him to give his fiancé a gift. However, he mistakenly gives the gift to another girl entirely, and makes love to her.
After 10 years separation from his wife, a film director (Jean-Louis Trintignant), imagines he can make up with her by giving her a part in his next film, an adaptation of Tshekov's "Three Sisters". He goes location scouting and stays in Bex, a Spa near Lake Leman, together with the three actresses : Julie, his ex-wife (Delphine Seyrig), the mysterious Cecilia, that his producer wants him to take (Lea Massari), and Esther (Valérie Mairesse), a teenager. They all stay in an old decaying hotel. In this isolated mansion the four of them will fight but also discover each other.
Interspersed with jokes, visual puns, and philosophical discussions, the story follows the attempts of a girl who has spent the last year living outside her native Switzerland to rekindle a former love affair. When her immature young friend fails to demonstrate the requisite interest, she takes up with someone the boy disapproves of. When the boy kicks the man, the man leaves both the boy and his erstwhile ex-girlfriend to their own devices.
Two guys facing problems in relationships and wondering about the living on the capitalist society.
In preparation for a feature-length film about windmills, an assistant director travels through the Vaud region to search for locations with windmills. The research leads to a serious engagement with the meaning and purpose of windmills, which has something Don Quixote-like about it in the age of nuclear power stations. The transitions between document and fiction flow constantly and result in a charming and intellectual mixture of seriousness and fun, determination and coincidence, weightlessness and the weight of meaning.
As he sets off for the countryside outside Geneva a taxi-driver hears a gunshot and notices a shadowy figure slipping away from the scene. So begins a series of strange incidents.
The film follows William, thirty-ish, out of work and looking for a new life after apparently having been thrown out of his previous one. He meets up with Noelle, who seems intrigued by his restlessness - until her economist boyfriend shows up. Yet plot details do little to convey the power of the film, which lay in its capturing the anarchic texture of William's life - a life whose lack of direction was read as a rebuke of the Swiss myth of orderliness and self-satisfaction. With his roots in documentary, Soutter excelled at creating a loose, vibrant cinema, full of quick zooms and dynamic hand-held shots, with dialogue that often alternated between outright quotations and stylized interviews.
The vicissitudes of showbiz take the hero Renart (Gerald Battiaz) and his wife Hermeline (Francoise Dupertuis) from up to down and back again in this brief drama. Renart entertains at a nightclub by pulling objects out of a suitcase on stage and creating a wide range of sound effects with his collection of odds and ends. All goes well until his wife is fired from her job at the club because she is pregnant. That infuriates Renart, and he quits. The couple then take off for the mountains and open up a club of their own, but now when he is the owner, Renart is transformed for the worse.
Returning from work, Louis finds a letter from his wife saying their marriage is over. He’s just lost his mother, and now he’s lost his wife as well. Shaken, he tries to understand: why the illness? Why the separation?