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The start of the film defines its psyche. The hands as a defining element of the actions against man, as a reflection of their souls. It is through this beginning that Godard composes an atonal essay, arrhythmic, with scenes or little clips, intervened in color, format or duration, clips from Cocteau, Epstein, Jacques Perconte, Nicholas Ray, Pasolini, or Van Sant, Hitchcock, or Browning. And specially, he employs different sound layers, or a sound panning that allows the film to overtake the entire room, like if it was a being that wants to penetrate consciences, or insert some reflections extracted from Rimbaud, Baudelaire, or Malraux.

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