Le Premier venu

Camille, a young woman from a bourgeois background, is bored with her life. Seeking intensity, she decides to give her love – not to the most attractive man, but to just anybody. To someone she thinks is in need of her. Like Costa, a roamer who lives in a bunker and at first glance is neither worthy of loving nor capable of it. Fascinated by Camille, a policeman follows the two. Doillon at his best. His signature is unmistakable: The focus is on the dialogues, on the composition of gestures, gazes, and words, as well as on the acting. Acting in a play and playing with the acting. Camille sets it in motion: She stages, arranges, schemes, directs. Costa and the policeman take on their respective parts. Various amorous constellations are played through, in which dialogues launched like gunfire debate love, its conditions, its failure. A triangular relation, full of tension, and a complicated emotional atmosphere arise, which gradually start spinning out of control. And not just when a gun is brought into play. Something unexpected occurs when people interact – Doillon, even beyond his own staging, is a specialist in this kind of surplus.