After the death of his mother, during a stay in Morocco, the director takes again his own archive images in connection with the important moments of his life.
Between 1975 and 1983 a new kind of film could be seen in French cinema : home-grown gay pornography. The films were shot in 16mm and most of them were passed and given certificates by the CNC (National Cinema Centre). They were screened in a small number of Parisian cinemas dedicated to gay pornographic films : Le Dragon, La Marotte and Le Hollywood Boulevard as well as several in the provinces. They were essentially the work of three production companies : Les Films de La Troïka (Norbert Terry), AMT Productions (Anne-Marie Tensi) and Les Films du Vertbois (principally Jacques Scandelari). The genre met an untimely end with the advent of video, the last being made in 1983 "Mon ami, mon amour (My friend, my lover)". Since then, gay pornography has not been screened in French cinemas. This film is the result of five years of painstaking research and investigation. It features extensive interviews with the directors and actors illustrated by numerous extracts from their films.
Between 1975 and 1983 a new kind of film could be seen in French cinema: home-grown gay pornography. They were essentially the work of three production companies: Les Films de La Troika (Norbert Terry), AMT Productions (Anne-Marie Tensi) and Les Films du Vertbois (principally Jacques Scandelari). The genre met an untimely end with the advent of video, the last being made in 1983 'Mon Ami, Mon Amour (My Friend, my Lover)'.
As Gerard is shooting a documentary in Marrakesh, he turns his camera toward a young Moroccan boy: Saïd. A love story starts and it will bring Gerard all over Morocco. Through encounters, love adventures, youth's memories, Gerard tries to define his destiny so tied to Morocco.
A reporter enters the world of bodybuilding at a time when there has just been a death at the gym. He befriends an unusually gregarious bodybuilder there.
A young actress rehearses on stage the play of her mental life. Where is the play, where is the reality? The character's real life and the baroque show seem intimately linked in the closed universe of a somewhat seedy theatre. On the advice of her director, Elisa ends up breaking her chains by accepting herself as she is. While she sings an opera, the walls of the theater disappear. Transported to the street, she continues her euphonious and optimistic number.