Elisabeth is at a complete loss as to what she should do with the commode
she has inherited from her mother. She is unwilling to throw it out
as it has some sentimental value, so instead she decides to store it away
in the cellar. Obviously she must wrap it up in plastic, but then she
is told that if she does so the wood will soon rot. She finds she has
a kindred spirit in Sophie, as she also has furniture in her cellar which
she is concerned about. Fearing that Elisabeth may be a depressive,
Sophie's husband Xavier tells his wife to stay away from her. Naturally
Sophie disregards her husband's warning and gladly accepts the commode that
Elisabeth offers her. She soon wishes she hadn't as her new friend
proves to be more of an encumbrance than that redundant piece of furniture...
In the 1910s, French cinema led the way with a new industry which actively encouraged innovation. From the serials of Louis Feuillade to the first auteur pieces of Abel Gance, this decade is rich in cinematic marvels.
It was American film noir and pulp fiction that kick-started the craze for thrillers in 1950s France and made it one of the most popular and enduring genres.