Céline is a free-spirited woman is married to a dull, middle manager Philippe. Her husband's co-worker pegged her as a household ornament because of the union. She befriends a woman who shows her how to juggle the couple's living expenses to get what she wants. As she asserts her independence and gradually frees herself from her husband's claustrophobic world, she turns to painting and writing about the inequity between genders.

From the marine cemetery which overlooks the town, a young man goes down towards the port. He successively meets three young girls with whom he becomes acquainted, but they leave him one by one... Will the last one give in to him? At dawn, he goes back the other way...

Codeine has been stolen from Philippe Calaro's pharmaceutical laboratory. The police are investigating and ask the young chemical engineer to remain at their disposal, as one of his direct employees is under suspicion. On his way home from an evening out with a friend, whom the case has forced him not to accompany on a trip, he discovers the corpse of an unknown man in the boot of his car. Distraught, and without thinking about his imprudence, he disposes of the cumbersome and inert passenger in the woods of St-Cloud. After the departure of his girlfriend's plane to Orly, he is accosted by a young girl who tells him she knows the dead man from the previous evening, and begs him to join her on the Air France bus, to disguise the fact that he is being followed.

Robert and his fiancée Lucienne were due to go on vacation together to a tented village in Sicily. Robert is forced to postpone his trip and only joins Lucienne a few days later, taking advantage of the departure of a following group. During the train journey, he befriends Thérèse, a young Sicilian living in Paris, who wants to make a pilgrimage to the land of her ancestors. Lucienne is away from the camp when Robert arrives, so he can continue to see Thérèse, and little by little they discover that they love each other. When Lucienne returns, an explanation and reconciliation take place, then Robert changes his mind and, with the vacations over, leaves Lucienne alone to live in Sicily with Thérèse, who wants to stay in her family's homeland.

A quiet cellist living in the countryside has his life disrupted when he accidentally bumps into a wealthy, temperamental woman in a Rolls-Royce. Angered by his indifference to her charm, she attempts to seduce him, but he resists her attempts to invade his peaceful life.

A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas’ “Hallelujah the hills” (1962), it’s an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics – parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.