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In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.
A French director in Berlin creates a film letter to his lover, while reminiscing over their relationship.
William’s great surprise, his cousin Clovis, whom he did not see again since around thirty years, arrives from New York to visit him. Reunion between both men creates one thousand memories: always so collusive, they become fast inseparable, living again, the space of moment, their young years… Only Elizabeth, wife of William, who has just lost her father, does not share their cheerfulness.
Guillaume, thirty years old, a man of images who never goes out without a filming device, decides one morning to take a voyage to Rouen empty-handed.
Valentin is a young gay painter who lives in the imaginary world of his paintings. When he finds his grandmother Nina, a Polish Jewish émigré whith whom he feels very close, he confesses his lack of inspiration and loneliness. During these few days together in a psychedelic Paris, Valentin expresses more and more the need to know the past Nina always tried to hide …
That day, Charlerine goes out, driven by a sudden urge to kill, kill, kill... The four films (Printemps, Ete, Automne and Hiver/Spring, Summer, Autumn, and Winter) have the same plot but are told in different ways: each season has its own rhythm.