Fired for insubordination, PJ Antoine Verlay, good cop but a blood strand and having difficulty working as a team, is attached to the OCBC (Central Office for the fight against Traffic in Cultural Goods) thanks to the intervention of the commander Pardo, his friend who becomes, therefore, his new superior. A clever investigator, but a stranger to everything related to culture, Antoine will have to work with Florence Chassagne, renowned art historian, who lives, speaks and breathes culture, to the point that - fruit of her great imagination - it happens to her in the midst of daydreams, to see and talk to the great artists who have disappeared as if they were familiar to her.

The longtime mayor of Marseille is preparing to hand over the reins to his protégé when a sudden and ruthless battle erupts for control of the city.

When their regal matriarch falls ill, the troubled Vuillard family come together for a hesitant Christmastime reunion. Among them is rebellious ne'er-do-well Henri and the uptight Elizabeth. Together under the same roof for the first time in many years, their intricate, long denied resentments and yearnings emerge again.

Emmanuel Brémont, a ten-year-old boy, suffers day after day the destructive madness of his mother. The young woman, a cashier in a supermarket, hates her son and does not hesitate to tell him. One Friday evening, Madame Brémont decides to go for a weekend. Emmanuel, on the other hand, will be waiting for his mother in the apartment, locked in double turn in the kitchen cupboard.

The film relates the painful ending of a love story binding an over-30-year-old woman and a North African, and the beginning and end of a relationship she also has with an “established” journalist. The stories illustrate the absolute claim of a woman who can understand love only in terms of life and death, an attitude that generally makes love appear dramatic, but at least burning and flickering, like the flame that glows in her heart.