Isou, playing a figure named Daniel throughout the film, is a firm believer in the new. While it’s clear he admires several filmmakers such as Charlie Chaplin, Abel Gance, René Clair, Sergei Eisenstein, Erich von Stroheim, Robert Flaherty, Luis Buñuel, and others to who he dedicates the film, the young would-be filmmaker argues for a completely new way of filmmaking that does not simply imitate these greats. Influenced by his Romanian homeland’s Dadaism, Surrealism, and, although he doesn’t quite acknowledge it, Italian Futurism, Isou is a promoter of noise and nonsense more than music and coherent sense. The founder of what he describes as “Letterism” (or Lettrism), he prefers words (mostly nonsense words) over image and meaning. Accordingly, in film he seeks to replace the picture with speech, to end the cinematic dominance of photography, and tell a story primarily through the use of language without a coherent sequence of images accompanying it.
The story meanwhile, is an almost inanely romantic melodrama concerning the loves past and present of the hero. Beginning with an attractive Norwegian Daniel has encountered in a bar, Eve, who, when asked to dance has rejected him, the spoken tale is a rather insipid story about what an earlier lover has described as Daniel’s “skirt-chasing” behavior. Drawn to Eve for her beauty and aloofness—a pretense, he declares, that allows her to pretend she is in a movie— Daniel soon becomes disenchanted with her, while Eve, who at first declares she cannot possibly love a man with whom she disagrees, is quickly swept away by her love for him. Sated by his experiences, he recalls an earlier flame, Denise, and attempts to return to her, consuming her in his often sadistic behavior: “And she bore black and blue marks, like his rubber stamp jealous ownership.” “And he broke her, he tore her, to feel himself within her."