Madame, that is to say Caroline, in the grandmother of Stephane Riethauser. Their relationship is at the focal point of this film: a double self-portrait in which the matriach and her gay flim-making grandson confide in each other. The extensive family archives are the means for the filmmaker to reinvent a dialogue with himself, with his grandmother and with the bourgeois society in which he grew up. It is through these images and in the confrontations that this film finds its subversive power, breaking down one by one, with the appropriate sincerity, clichés about gender which bind each of us in a role.
