Bonsoir

Having lost his wife and his job as a tweed tailor, Alex Ponttin devises a novel way to stay connected with society by infiltrating homes. He begins pretending to be a relative or an official to secure a night’s free lodging. This marks the start of his on-and-off life of social intrusion.

Alex enters the Dumont home under the guise of a guest and shares lunch with the couple. A thief follows him, signaling danger and the moral ambiguity of his scheme. The encounter exposes how his hospitality can entangle him in risky situations.

He spends an evening in front of the TV at Marie's home, a mother of seven who becomes one of his temporary hosts. The visit shows the domestic warmth and intimacy he disrupts, making his intrusion feel oddly human. He moves through another living space as if he belongs there.

Believing the night needs a new address, Alex runs from Marie's home to seek another lodging. His nomadic pattern underscores his detachment from conventional life and his appetite for social connection. The episode widens the circle of people who unknowingly host him.

Alex arrives at Caroline's home, meeting a charming but shy lesbian and her lively lover Gloria. The house introduces a fresh dynamic and a chance to expand his improvised family of hosts. He becomes another figure in their unconventional domestic circle.

Caroline fears exposure of her homosexuality by her sister Catherine, and by extension her aunt Amélie. To protect her inheritance, she tells Amélie that Gloria is her secretary and that Alex is her lover. This arrangement forces Alex to participate in an elaborate deception.

As part of the ruse, Alex is asked to present himself nude in Caroline's bed. He complies, using his improvisational charm to maintain the illusion. The moment is both comic and provocative, illustrating the film's satirical edge.

The deception succeeds and Caroline's inheritance is safeguarded; Amélie is convinced, and the secret relationships are tolerated for the sake of the family. Alex's role remains clandestine, reinforcing his function as a social mirror rather than a hero. The outcome cements the film's critique of conventional morality.

The police officers pursuing the case are portrayed as terminally stupid, giving Alex little risk of arrest. This satirical portrayal underscores the film's anti-establishment stance and the failings of institutions. Alex's freedom to roam becomes a running commentary on modern life.

As events unfold, society begins to elevate Alex Ponttin rather than condemn him. The film redefines the outsider as someone capable of improving others' lives and challenging the state's inertia. The end hints that moral progress may come from eccentricity and humanity.

The narrative culminates in a moment that weighs the cost of mediocrity in public life. The state and clergy are portrayed as compromised, while Alex's meddling and generosity suggest a different path forward. The audience is invited to question who deserves praise and who bears responsibility.

The film closes with a suggestion that a cohesive society can be built by outsiders who care. Alex's unconventional methods showcase a bizarre but hopeful approach to community life. The final message aligns with Mocky's anti-establishment subtext about integrity and humanity.