A subtle, morally tangled drama unfolds as a French bourgeois circle drifts through a web of crime, politics, and desire. At the heart of it all is a dinner party turned tableau of paranoia and power. A French bourgeois couple, François Thévenot [Paul Frankeur], and Simone Thévenot [Delphine Seyrig], accompany François's colleague Don Rafael Acosta [Fernando Rey], the ambassador from Miranda, and Simone's sister Florence [Bulle Ogier] to the home of the Sénéchals for a gathering that promises polite conversation but hints at dangerous undercurrents. The host Alice Sénéchal is surprised to see them, explaining that she expected them the following evening and has no dinner prepared. The would-be guests invite Alice to join them for dinner at a nearby inn. There, a waitress explains the restaurant is now under new management; the place is empty of diners, and the group departs in a hurry after discovering a vigil for the manager, who had died a few hours earlier in an adjoining room. The mood is odd, the atmosphere tense, and nothing feels quite as it seems.
Two days later, at the Miranda embassy, Acosta, François, and Henri Sénéchal (Alice’s husband) discuss the proceeds of a large cocaine deal. Acosta notices a young woman selling clockwork animal toys outside; he fires a shot at one of the toys and the girl bolts away. He explains that she’s part of a Maoist Mirandan terrorist cell that has been targeting him for months, a revelation that deepens the sense that politics and crime are entangled in every interaction. The sense of looming danger thickens as the group moves through their day, the line between ally and antagonist blurring with every gesture.
A lunch at the Sénéchals’ home soon follows, but the mood has grown uneasy. Henri and Alice slip away to the garden to have sex, rather than join the others at the table, and Acosta quickly deduces that the Sénéchals anticipate police attention and have fled to avoid arrest for drug trafficking. The rest depart in a panic, a microcosm of a society that circulates around rumor, suspicion, and bristling fear.
When the Sénéchals return to a vacant room, they encounter a surprising figure—a bishop who has donned their gardener’s disguise. They initially eject him, yet when he reappears in full bishop robes, they treat him with a deferential courtesy. The bishop asks for work as their gardener and then shares a chilling family memory: as a child, he learned that his parents were poisoned with arsenic and that the culprit was never brought to justice. The moment binds the characters to an eerie sense of historical grievance that haunts every corner of their world. Julien Bertheau is the moment’s solemn hinge, casting a long shadow over the proceedings.
The scene shifts again to a teahouse, where a soldier recounts a childhood story that echoes the earlier themes of danger and succession. After his mother dies, his stern father sends him to military school. The ghost of the soldier’s mother reveals a devastating truth: the man he believes to be his father is in fact the killer of his real father, a revelation that ends in a grim act of vengeance on the supposed culprit. The tale underscores how violence and lineage intertwine within the group’s world, fueling paranoia and moral ambiguity.
Simone, meanwhile, is entangled with Acosta in more personal terms. They meet at Acosta’s apartment for a clandestine affair, but their tryst is interrupted by François, and Simone offers a convenient excuse to leave with him instead. The encounter with the terrorist who has been pursuing Acosta interrupts the moment, and she is forced to confront the consequences of her choices. The terrorist, a figure embodied by Maria Gabriella Maione, arrives with a threat that unsettles the room further and culminates in a sharp, morally ambiguous confrontation. The tension mounts as agents waiting across the street capture her, reinforcing the sense that surveillance and control are constant presences in this world.
The group reconvenes at the Sénéchals’ for dinner, only to be interrupted by the unexpected arrival of an army regiment that joins the dinner before being called away for maneuvers. A colonel—Claude Piéplu—enters the scene and invites them to his house in return, creating a motif of shifting hospitality and shifting loyalties. François dreams a surreal sequence in which the colonel presses Acosta about Miranda’s political situation, culminating in a gunshot that hints at the fragile line between fiction and reality that threads through the tale. The bishop’s absolution role returns as he is summoned to tend to a dying gardener who confesses to poisoning his former employers, only for the gardener to be revealed as the son of those employers. The bishop ends the affair with a fatal shot, a grim act that underscores the moral cost of the living’s complicity in wrongdoing.
As the arrest for drug trafficking looms, the police chief dreams of a haunting vision: the ghost of a former inspector killed for torturing a student protestor; this dream seems to speak from a higher moral order, only to be shattered by the waking reality that the Interior Minister has ordered the traffickers released. Acosta experiences a nightmare in which the group returns to the Sénéchals’ for dinner and is then shot by a rival gang from Marseille, a dream that fades as he returns to the kitchen to eat leftovers from the refrigerator. The film ends, almost hypnotically, with a recurring image of the six walking silently and with purpose along a desolate country road, a stark and unresolved final sequence that lingers long after the screen goes dark. The entire narrative threads together themes of social façade, corruption, betrayal, and the unsettling ways in which power frames every relationship and every decision.
