Bonsoir

In a modest French town bruised by loss and routine, Alex Pontin finds his world upended when his beloved wife passes away and his once‑steady job as a tweed tailor disappears. Rather than succumb to quiet resignation, he invents a singular way to stay afloat: he slips into strangers’ homes by masquerading as a relative or an official, coaxing hosts into offering him a night’s shelter. This habit of temporary refuge becomes both his survival tactic and a mischievous lens through which he surveys a society caught in polite pretenses.

His wandering brings him face‑to‑face with a series of distinct households, each reflecting a different shade of post‑war French life. A tense lunch with the hostile Dumont couple sets a tone of wary hospitality, while an evening spent in the modest living room of Marie, a mother of seven, reveals the gentle strain of caring for many on limited means. The journey then leads to the warmly unconventional home of Caroline and her vivacious partner Gloria, whose quiet confidence and affectionate banter provide a playful counterpoint to the more formal settings Alex has known.

Amid these encounters, Alex is drawn into a modest yet meaningful effort to safeguard Caroline’s inheritance from a scheming sister, adding a layer of personal solidarity to his otherwise itinerant existence. Throughout, the local police, epitomized by the well‑meaning but hapless Inspecteur Bruneau, prove inept at pinning down his movements, underscoring the film’s light‑hearted critique of authority and bureaucratic bluster.

Mocky’s direction blends sharp satire with a breezy, almost improvisational comedy, turning each domestic tableau into a mirror that reflects both the absurdities and the tender intimacies of everyday life. Bonsoir invites viewers to watch an impish outsider navigate a world of strained conventions, suggesting that genuine humanity often resides just beyond the tidy borders of respectability.

Last Updated: November 25, 2025 at 15:22