Ángel Díaz’s documentary The Lost Sorrows of Jean Eustache, concentrates on Eustache as cinematic thinker and archivist of his own life. Actors read texts written by Eustache, including the following reflection: “The role of the author in cinema should be one of non-intervention.” This sentence reminds us that he belongs to the greatest of film traditions (he cites Griffith, Renoir, Dreyer, and Lang as his models), the one that sees cinema as a matter of placing the camera in front of reality and capturing it ardently, precisely, and without tricks.

Roberte, 40, resistant during the war, Calvinist and anticlerical, is deputy to the chamber and inspector of Censorship. She married Octave, an old Catholic aesthete, professor of canon law, whom she saves from impeachment for collaboration during the war. He submits his wife to a perverse custom: the laws of hospitality or prostitution of the wife by the husband.

Laura and Fabrizio have been meeting every summer in the forest by her parent's summer home. Fabrizio is a solitary boy with only his dog for company; Laura a sweet but unconfident child. This summer new aspects enter into their story as both are growing up. Laura is falling in love with Fabrizio, while he displays a new sexual awareness of her masked by his malice. Things develop further when they meet Sylvia who, unlike the innocent Laura, is confident and assertive. Fabrizio develops a fascination with her, eventually bribing Laura to fetch her to the forest to join them in play.

Daniel lives with his grandmother and, after a year of high school, goes to live with his mother in the south of France; a harsher environment which rapidly changes his perception of friends, work, and women.