The students of a prestigious law school try their best to mess things up.

In Saint-Rupert, Basse Lozère, the son of a family of garbage collectors, Pissenlit, who has played the mentally deficient since childhood so as not to be forced to go to school, is in fact a prodigy in mathematics: by reading a book found in a trash can, he revolutionizes a mathematical theory. Meanwhile, his father is making a computer from objects recovered from garbage cans, and capable of composing musical "hits" that may make him a star.

Four generations of Oppenheim men gather in Paris for Isaac's 90th birthday. He's "Romeo," still a lady's man, waiting to hear from a woman to whom he has proposed, threatening suicide if she says no. They gather at Isaac's grandson's, Ben, who lives with Peggy and their son Mathias who's 10. Joining them, from Israel, is Isaac's son Elie. Against a backdrop of Elie's attempts to call his ex-wife, Ben and Peggy's marital difficulties, Mathias's budding sexuality, everyone's love of chess and practical jokes, Ben's house (shifting dangerously on its foundation), and the twentieth-century struggles of the Jews, the film explores their relationships and Isaac's aging.

Three couples—each made up of a man named Roger and a woman named Jeanne—are close friends who plan a convivial dinner gathering. In a humorous twist, the wives unexpectedly fail to appear, leaving the three Rogers to navigate the evening on their own. As they share a meal, the absence of their partners sparks a series of reflective and witty conversations where memories, philosophies on love, life, and death, and existential musings take center stage, transforming an ordinary night into an intimate exploration of friendship and the human condition.

Following a car accident, four men find themselves in the hospital, where they sow discord. Meanwhile, their wives take full advantage of their newfound freedom.

At house of Agathon get together many intellectuals and philosophers, including Socrates, to discuss the theme of love and sex: each of them intervenes to support its argument dialogical rules, within the context symposial.

A film producer on the verge of ruin decides to make an erotic film.

A killer has found a way to kill women without committing the crime. He gets them to fall in love with him, like Isolde falls for Tristan in the epic poem, and then he leaves them. Heartbroken they choose suicide, just like Isolde.