Clémence leaves home, leaving her husband Laurent and son Paul with it, because her dream is to write and be emotionally free. The situation isn’t ideal when, already as his ex-wife, Clémence tells Laurent she’s attracted to women. He begins to exploit Paul’s resentment to make absurd accusations of molestation, claiming Clémence is responsible for his son’s traumas. Thus begins a war between Clémence and the bureaucracy, between Clémence and Laurent, between Clémence and her own idea of ​​being a mother. It’s a battle of attrition, exploiting the passage of time, which transforms the relationship between Clémence and Paul into one of gradual detachment. Director Anna Cazenave Cambet and her editor Joris Laquittant make temporal ellipses hide within the folds of the story, so that the time that passes ruinously without Clémence being able to see her son again is an unstoppable waterfall, which makes her lose the chance to see Paul grow, mature, be able to rely on her, bond with her in proportion to the love they have for each other.