The film opens with a well-known British nursery rhyme: Boys and girls come out to play . It ends with a call, whispered in the ear at bedtime, to go out and play and see what's going on in the street. This is precisely what Ben Rivers and Céline Condorelli propose with After Work , the latter having been commissioned to create a playground in a working-class neighborhood in South London. From one off-screen scene to the next, from the game to its construction, the aim is to take a closer look at what these playgrounds tell us: about childhood, about the street, about living together. To carry out this investigation, as political as it is sensory, nourished by the plastic beauty and sensuality of Rivers' 16mm images, they are accompanied by Jay Bernard, poet, artist, figure of the literary and LGBT world of London. In the image, we discover the implementation of the object – digging the earth, preparing the ground, welding, polishing. It is suggested by touches, captured by a camera playing with colors and superimpositions, attentive to snatches of work gestures – a whole process diffracted with a mishandled chronology. At the same time, Jay Bernard's voice chants his beautiful poem, rough, elliptical, which draws us at its own pace into a world of words nourished by experiences at the surface of our being. Unfolding from this condensed corner of the city, an urban world populated by workers at work and a bestiary composed of cats but also a fleeting fox. An unexpected guest in the city, he seems surprised by the construction site and by the introduction of children's play into his world. The film, by its very constitution, is an operator of encounters, sometimes discordant: between worlds, between the poem and the images, between work and play, the city and the animals, between the adult world and that of children – which Rivers, wisely taking a gamble, does not film.