Dir.: Philippe Harel; Script: Eric Assous; Phot.: Gilles Henry; Ed.: Bénedicte Teiger; Mus.: Isabelle Carré; Cast: Les Productions Lazennec, 5, rue Darcet, 75017 Paris (France), tél.: 53 04 41 00, fax: 53 04 41 01; Prod. & Sales: President Film, 2, rue Lord Byron, 75008 Paris (France, tél.: 45 62 82 22, fax: 45 63 40 56;Dist.: Alliance.

François is 39, Muriel 22. He's married, father of a child, and lives comfortably. She works in a travel agency, is single and unattached. They meet by chance. He wants her. She resists. Gives in. Then latches on to him. There is a word for it -- adultery. Adultery in all its fleeting pleasures, rare moments, creeping jealousies, open conflicts, stolen delights, tears stopped, tears shed.

"This is a story of adultery told in the first person, filmed with a subjective camera, with only a single protagonist and without any secondary plot. If adultery is a familiar theme, my method of approaching it is not... I considered other ways of bringing these two characters to life: for example by keeping the rest of the world so indistinct that we see it only as shadows... Above all we wanted the viewer to forget that this was a subjective camera. We looked at films that used this technique. such as Robert Montgomery's LADY IN THE LAKE. But there was the clear sense that it was a technical idea imposed on a screenplay that didn't require it... The choice of the subjective camera prevented certain things. It was out of the question that François and Muriel kiss, for example...The story of an adulterous affair also became the portrait of a young woman. Without the subjective camera, we wouldn't have been able to capture the complexity of Muriel's feelings and psychological finesse of Isabelle Carré's performance." -- Philippe Harel