What's in a Name?

Vincent invites his sister Elisabeth, her husband Pierre, and their friend Claude to a dinner at his home. Anna, Vincent's wife, is running late due to a business meeting. The invitation sets up an evening where social roles, ambitions, and hidden tensions will be tested.

While waiting for the meal, Vincent jokes that his unborn son will be named Adolphe after a literary hero. The joke triggers a heated debate about whether such a name is appropriate given its association with Adolf Hitler. Vincent insists it is just a joke, but the moment unmasks the underlying fault lines among the friends.

The joke acts as a catalyst for a broader argument that exposes long-held resentments. Vincent comes off as selfish and vain, Pierre as snobbish and condescending, and Claude as the butt of jokes about his surname and effeminate habits. Elisabeth remains busy in the kitchen, frustrated that the conversation is drowning out her effort.

Anna arrives home, and her presence reopens the conflict with renewed intensity. The conversation shifts from witty banter to probing revelations about family loyalties and past betrayals. The atmosphere thickens with tension as everyone awaits a meal that feels more like a tribunal.

Claude resents the questioning of his sexuality and finally reveals he has been seeing a woman for some time. He withholds the rest of the details, adding to the sense of secrets among the group. The disclosure heightens mistrust and complicates the evening's dynamics.

Pierre confesses to having killed a family pet during childhood, an event Vincent had taken the blame for at the time. The revelation underscores how childhood memories still shape present relationships. The room grows quiet as the truth shifts the balance of accountability.

Claude reveals that his long-time partner is Françoise, Vincent and Elisabeth's mother. Vincent is stunned and strikes Claude in shock, illustrating how betrayal fractures trust physically as well as emotionally. The eruption marks a turning point where civility collapses into raw emotion.

Elisabeth calls their mother and learns the full truth of the affair. It emerges that Anna knew about the affair as well, amplifying the shock. The combined disclosures deepen the sense of family betrayal and raise questions about who has the right to forgive whom.

Elisabeth expresses long-held resentments toward Vincent, Pierre, and Claude, detailing how she sacrificed her own academic dreams to support Pierre. She accuses Vincent of being the favorite child who could always rely on forgiveness. The confrontation makes clear the gendered and personal costs of their intertwined lives.

Anna and Elisabeth lay down boundaries, with Anna warning that she would divorce if Vincent does not change. Elisabeth tells Pierre he will be responsible for cleaning up dinner and putting the children to bed, and he will sleep on the couch for a while. The moment ends with a palpable, unsettled silence.

Pierre and Vincent share a quiet moment in the living room, sipping a bottle of rosé and trading light jokes to ease the tension. The humor is a fragile olive branch, hinting at possible reconciliation but avoiding a full breakthrough. The scars from the night remain visible beneath their words.

Four months after the dinner, Pierre, Elisabeth, Claude, and Françoise visit Vincent and Anna at the hospital to meet their newborn daughter. The child is revealed to be a girl, unexpectedly softening the mood in the ward. They are told she will be named Francoise, a name that both honors Elisabeth's mother and complicates the family history.

Francoise's birth marks a new, fragile chapter for the family as they finally meet the baby. The presence of the newborn offers a chance to repair relationships and reframe their conflicts around parenthood and legacy. The film closes on a note of cautious optimism, acknowledging that some wounds may heal with time.