Céline and Julie Go Boating

Céline's actions are a playful reference to Lewis Carroll's Alice's Adventures in Wonderland, where the White Rabbit frantically drops items while rushing late. This whimsical gesture signals to Julie, and signals to viewers, that Céline is leading her into a magical, storybook adventure rather than a ordinary pursuit. The moment establishes the film's dreamlike tone and hints that the boundary between reality and fantasy will blur.

The White Rabbit motif recurs at the film's end when Julie drops her magic book and Céline chases her, completing the Carroll-inspired cycle.

After being expelled from the house, both women discover a candy lodged in their mouths during their taxi ride home. This candy serves as a tangible link to the alternate reality within the mansion. When they suck on the candy, they are transported back into the house's timeline, reliving that day's events. The sweet functions like Proust's madeleine, a sensory key that unlocks access to another time and place.

The candy first appears mysteriously after their initial ejection from the house, foreshadowing its role as a repeated mechanism for re-entry.

Each time they are expelled from the house, they return to present-day Paris exhausted and with gaps in their memory of what occurred inside. This memory loss creates a mystery and prevents them from fully understanding the house's narrative until they accumulate more candy and replay the events multiple times. The progressive memory restoration mimics how the characters in the house's melodrama repeat their exact phrases, suggesting the house operates on a loop where participants forget previous iterations.

The pattern of memory loss begins immediately after their first entry, suggesting the house has a mechanism to keep its participants confused and dependent on the candy to regain context.

Within the mansion's alternate reality, a family drama unfolds featuring two jealous sisters competing for the attention of a widower, with a sickly child caught in the middle. The central tragedy is that the young girl, Madlyn, is murdered, likely by one of the sisters driven by jealousy. The narrative plays out like a staged melodrama with exact dialogue that repeats, which Julie and Céline memorize and eventually learn to manipulate.

Céline recognizes the house as a place where she once worked as a nanny, hinting that the family and their tragic story are connected to her past.

As they replay the same day repeatedly, Julie and Céline begin to remember more details with each candy consumption. This accumulating knowledge grants them agency within the narrative. They realize they are not trapped as passive observers, they can insert new dialogue, alter actions, and reshape the plot as it unfolds. This turning point transforms them from spectators into active participants, effectively becoming co-authors of the story.

Their early repetitions involve simply memorizing exact phrases and joking about the melodrama, establishing that they are learning the 'script' before attempting to rewrite it.

After gaining full knowledge of the house's tragic narrative, Julie and Céline seize control of the story's conclusion. They rewrite the ending by altering dialogue and inserting different actions, ultimately preventing the young girl's murder. This act of authorship shifts the atmosphere from tragedy to hope, demonstrating that fate can be rewritten from within the tale. The successful rescue allows the two realities to fully merge when Madlyn joins them in 1970s Paris.

Their interventions escalate gradually, starting with small dialogue changes before they attempt to fundamentally alter the outcome.

After Madlyn joins them in Julie's apartment, the three women take a rowboat onto a placid river where they watch another boat pass by. This other boat carries the house's original protagonists, the family from the melodrama, but they appear as frozen, antique props rather than living people. The scene symbolizes that the two realities have merged into one, where the characters from the house now exist alongside them in a blended world. The river becomes a liminal space where past and present coexist.

Throughout the film, water imagery and the taxi rides between worlds establish rivers and waterways as transitional spaces between realities.

The film concludes with Céline sitting on a park bench while Julie rushes past and drops her magic book in another White Rabbit gesture. Céline calls out, picks up the book, and chases after Julie, mirroring the opening scene. This cyclical return suggests that the boundary between story and life remains permanently porous. The loop implies that Julie and Céline will continue their adventures, stepping into new chapters whenever the magical opportunity arises, maintaining the film's theme that storytelling and reality are inseparable.

The opening scene already contains the seeds of repetition with the chase and reconciliation, establishing the cycle that the ending confirms.

When Céline first visits 7 bis rue du Nadir-aux-Pommes, she recognizes it as the location where she once worked as a nanny for the family inside the house. This connection suggests she has a deeper past or repeating role within the house's narrative. Whether this is a literal past job or another layer of the story's reality-blurring mechanics remains ambiguous. The recognition establishes her initial familiarity with the house's dramatic stakes and gives her motivation to investigate its mysteries.

Céline's recognition implies she has experienced this loop before, though the full truth of her connection remains mysterious.

Whenever either woman enters the mansion, they eventually disappear for a period and are then forcibly expelled back to present-day Paris by unseen hands. This expulsion happens within the same day, they return with gaps in their memory and find themselves in a taxi with a candy in their mouth. The force ejecting them remains mysterious and unnamed, but it maintains the house's controlled access. The expulsion ensures they cannot stay indefinitely in the alternate timeline, forcing them to use the candy as a return ticket.

The unseen hands suggest a sentient or systematic force governing the house's boundaries, hinting at authorship beyond Julie and Céline.