On a Eu la Journée Bonsoir plot
We Had the Day Bonsoir is a love song for the dead, but strives for more than mourning and eulogy - for something eternal. With fragmentary, intimate image and sound material, Narimane Mari sketches a lively but also distorted portrait of her deceased partner, the painter Michel Haas. It is an ode to a specific person through the eyes and ears of his loved one, but also to life itself. Through Mari's eyes we see someone who is full of life, right up to his last day: painting on all fours in the sand, laughing like a child at Chaplin, swearing at the camera. Mari seems more preoccupied with listening: to voicemail revelations between the two lovers, to an unanswered plea from Haas' doctor, to the lapping of the waves.