The film records a day in a supermarket in the Brussels region. The story of this day's little events, both comic and touching, provides the general framework of the film. The situations which are conveyed through an accumulation of quick, light touches, highlight some of the ways we behave in connection with food, the repetitive element in our gestures and movements in this everyday, enclosed world which is so familiar. The film is based on the observation of a supermarket and the people who shop or work there. More and more of their various personalities emerge in the course of the day. They all have their importance: we get to know them from the outside, like people in a group photo where each has his own place. All these individuals cross each other's paths, meet each other, bump into each other again and fill in the framework of the film with a many-sided tableau.

Based on the title character, a World Health Organisation (WHO) doctor and martial arts expert who fights bad guys, created in 1970 by scriptwriter Jean Ollivier and artist Carlo Marcello for "Pif Gadget", a weekly kids' comic book magazine in France.

In the early 1950s, in a seaside town, Isabelle, a girl in her late teens,is about to spend an apparently eventless summer between her mother, her friends and a small job for a photographer whose business is lagging. But Isabelle is not the mentally balanced young lady she seems to be. In fact she is doubly traumatized, firstly by the rape she suffered eight years before from a Nazi officer and secondly by the suicide of her father shortly after. What she wants deep inside herself is to find a man, young or less young, who will bring her tenderness and happiness. Will Luc, a young German, or Monsieur Vaudois, her married boss, give her what she lacks ?

"It's a very simple story, shot in a quiet street in Brussels. People waiting for the bus that is late, talking to each other, trusting each other, talking about the weather and giving each other practical tips. It is life as it is, in its troubling banality, that Van Antwerpen shows us. " (Luc Honorez, Le Soir, 1974).