This complex allegorical tale tells the story of man’s quest for spiritual meaning. When God enters the body of 1980s filmmaker Simon Donnadieu, his wife Rachel realizes that something has gone awry, but chooses to remain faithful to her erratically-behaving husband.

Edouard gives pieces of advice on a radio station, but when he tries to use them in real life with his friends, his skills are dubious.

Director Arnaud de Pallières presents an experimental three-part film designed to stimulate the intellect and inspire reflection on the past. The first part tells the story of the last living Holocaust survivor, who is nearing the end of life and regrets not leaving behind an official record of the horrors he witnessed during the dark years of World War II. Later, a young historian researching a concentration camp in Drancy is shocked to discover that the site now houses an unwelcoming housing project called La Muette (the Silent). The trilogy winds to a close with the story of a ship's captain who recalls the time he ventured up an uncharted river towards an undiscovered civilization.

Philippe is a middle-aged painter, he lives with Annie : they have two kids. Just after they split up, Philippe meets Justine. He starts thinking about love, the relationship between former lovers..

Clara (Karin Viard) is a stripper with a high-strung, jealous boyfriend with the curious name of Loockeed (Antoine Chappey). The couple are friends with the even-temperred, almost saintly Max (Gerald Laroche), an auto mechanic. The three of them set out from their home in the north to journey to the Alpine mountains near Switzerland and Italy, where they will help a fourth friend take care of his pleasure boat business at Lake Annecy while he is in military service. As the trio attempt to establish some sort of equilibrium in their new lives, Max must constantly deal with Loockeed's testy, jealous barbs. Despite this, the three of them remain friends.

A famous French filmmaker is hired by a major Hollywood producer to make a documentary on the state of post-Cold War Russia. The filmmaker, though, subverts the project by stubbornly remaining in France and casting himself as the title character of Dostoyevsky's "The Idiot," offering up a series of typically Godardian musings on art, politics, the nature of images and the future of cinema.