After

Paris at night. The driving bass of a sound system thunders through an underground car park. On the dance floor of a club, the revellers allow themselves be propelled by techno, enveloped in smoke and light, communicating only with their bodies. Félicie is approached by her ex-girlfriend, but she turns away. In the next room, the music is quieter. People get talking, consume drugs or take a break before throwing themselves into the dancing once more.

This is where Félicie meets Saïd who has just come from his shift as a driver and tells her about the “gilets jaunes” protests. Félicie suggests that they move on to party at her place while the other revellers continue to abandon themselves to the night. In clear-eyed close-ups that float amidst an ever-developing soundscape, director Anthony Lapia captures the anatomy and energy of a party just as well as the gradual transition to the quieter world of the afterparty. On the cusp between night and day, different lives and views collide before, more or less gently but inexorably, everyday life returns.

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