Three people travel together to a remote island, Ouessant. They separate themselves from the continent, from the big narratives of culture, from progress and civilization. They are a contemporary tribe, a community that is free to discover new modes of living together. They will need to invent ways of speaking with their fears, of freeing their inner monsters and learn how to relate to time and death. The director Gohar Martirosyan creates an experiment, referring back and to reframe the rituals of our contemporary living together. She strives to discover or construct, or rather awaken the connectedness to the inner reality of collective living: “returning to a point in the past after which things went the wrong direction, and undertaking a new beginning, by designing the collective and ritual practices adapted to modern mankind.” The return for Gohar is a radical and even revolutionary meaning: “Our interests and desires are produced and defined by our way of life. In order to develop the revolutionary desire to change society in its totality, one has to gain an understanding of our contemporary culture as already dead —a particular social form among other social forms. Such an understanding comes not so much from putting on the mask of past cultures, but rather from seeing the face of contemporary culture as a mask and comparing it to other masks.”