The last weekend of summer. Mother is preparing the jars for winter pickling, love-struck Françoise is practising karaoke in front of her little brother Julien. In the shed behind the house, Karim is doing some "undeclared" work, having given up on his acting dreams. In a few hours, the new canning factory, where Father works, will be inaugurated. No one is expecting Sonia, who decides to turn up that very morning.
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"Living between yesterday and tomorrow means more than letting go. It also means acquiring a heritage. Below the crumbling surface of humanity there is also the solid granite and scope of life's movements with its cycles that transcend us. Perhaps guided—like Hölderlin—by an unconscious certainty that "beauty is only the first degree of awesomeness," Achard addresses his film to a child simultaneously strange and familiar (that is, us), to our mothers, to our families, and to the oldsters we'll become in turn. To all those people, Achard confesses his bitter gratitude and makes a paradoxical farewell. More (modest) than yesterday, less (great) than tomorrow—in other words, the entire expanding universe."
(Olivier Séguret, "Libération," February 3, 1999)