Upon their release from prison twen­ty years ear­li­er, Gérard, Ary and Philippe asked them­selves if hon­esty was not the best rack­et of them all. Today, they are insep­a­ra­ble and scrupu­lous­ly above board. But Gérard learns he is ter­mi­nal­ly ill. Their friend’s days being num­bered, Ary and Philippe want to offer him one last love sto­ry… because, as Gérard likes to say : love is bet­ter than life.

A young woman convenes with her extended family in a provincial village where her cousin, in a coma, is hospitalized after attempting suicide.

Xavier Lombard is a world-weary private eye in London, in exile from his native Paris; his best friend is Nathalie, a high-class call girl. He gets a call from an old friend from the Paris police department, now a businessman whose brother-in-law is missing. The missing man's parents hire Xavier over their daughter's objections, and quickly he finds himself in the realm of children's sexual slavery.

The former famous painter Frenhofer lives quietly with his wife on a countryside residence in the French Provence. When the young artist Nicolas visits him with his girlfriend Marianne, Frenhofer decides to start again the work on a painting he long ago stopped: La Belle Noiseuse. And he wants Marianne as model.

Suffering from depression and marital problems, Alex mistakenly orders a life-size doll, whom he names "Monique". With the help of Monique, Alex turns his life around; however she soon becomes the envy of his friends and wife.

Pierre has four months left to live if he does not find a new liver. His only hope is a transplant from his brother, Paul. But Pierre hates Paul and has refused to see him for the past ten years. They are different in every aspect : their way of life, their tastes. Nevertheless, Marie, Pierre's fiancee, is determined to reconcile the two men. A love-hate relationship develops, disrupting the trio, recomposing the couples and even going so far as to change their personalities. After a few too many drinks and a bit of fooling around, the settling of scores between the two brothers will come to a surprising end.

The idea for this film about a generation and its lost ideals came to Romain Goupil after attending several funerals of friends in the fall of 1996, where the '68 generation, now in influential positions in media or politics, kept meeting each other. It seemed as if the revolution that they had tried to make was being buried with each coffin. A MORT LA MORT is in some ways an homage to this generation, now in their fifties. They were a privileged generation that thought that they could change the world, doing everything that their parents failed to do. There were no actual deaths in France as there were in Germany or Italy, but the system was not ideal for personal issues or for love. There was always a scapegoat for the injustices of the world, be it capitalism or imperialism. That way the blame could be placed somewhere else. Some of the '68 generation are still faithful to the principles of their youth and still continue to fight for the illusions of the past.

A librarian, a gangster's ex-lover and a woman who has recovered from a coma spend an eye-opening summer in Paris.

A French family is shown as they go through the daily routines of life. Arguing, feasting, crying, and yearning for love are just some of the human emotions encountered. The mood wavers between excessive noise to silence while those not participating in the conversations eavesdrop.

Yann and Rose are young, they love and want to have a child. Nine months later ... still no baby in sight. They then show great imagination and try everything ... no matter what it is. But they wish so hardly to be three that, is not likely they finish all alone?