In the Paris metro, a man in a black mask. An anti-vax demonstration passes before the indifferent camera. The man returns home, the sound of social anger follows him inside, but nothing seems to matter except his interaction with the double he finds between the white walls. The curve of his shaved head matches that of the sculpture placed behind him on the mantelpiece. Portraits appear behind his back. Elsewhere, on the banks of the Seine, a woman and a dog gaze into the distance, as if watching for an event. Pierre Creton's adaptation of Maupassant's short story astonishes with its luminous serenity. This is because it is above all a portrait, a black-and-white study of a body, a face, of their clear and opaque beauty. Paying attention to them is enough to ward off ghosts and madness