Star dancer and single mum, Myriam (Martines), waits for fate to make its next move. Working on a canvas beside a canal in Venice, Pierre Turi (Arditi), an art dealer, happens to forge his 'lost' masterpieces. Myriam and son become part of the frame of his life. Plans are made for a long holiday together, until a yachting accident leaves Martines to make the trip on her own. Camcorder in hand, she creates a video for those she's lost. Lelouch aims for emotions on a global scale, but only in the first half does the result measure up to his ambitions. Arditi's charisma whisks us along, but once he's off the scene, Martines has a task to carry the picture on numbed grief alone. Furthermore, an intersecting plot strand with Hollogne, a college lecturer and filmed-theatre performer, fails to engage. Without a solid grounding in credibility or emotional involvement, the film's edifice threatens to tumble, but then only a lovable madman such as Lelouch would dare to conjure an epic vision from such ramshackle elements in the first place.