On stage, the musician’s performance sheds light on the narrative. The film’s soundtrack, created live using various musical instruments and sound effects, is also played ad libitum in the form of sound loops. As in Tati’s work, sound is used in juxtaposition to the on-screen action, providing new layers of understanding. Sound effects, in particular, manipulate our perception of events, revealing the meaning of each scene in a fresh light.

The show is a gentle parody of our contemporary consumer and entertainment society, borrowing from the codes of the 1960s, reminiscent of Tati: a naiveté in comedy, a certain form of obsession or addiction translated through comedic repetition generated by video loops.

In this retro-futuristic world, the major actors and practices of our present society are represented, with a decidedly humorous approach, highlighting the absurdity of certain situations. One character receives a lightbulb delivered in a massive package by a Babylon Prime drone. Another asks his unruly son to engage in intellectual activities and offers him a Netfox series. Two neighbors engage in a ping pong match in Social VR without realizing they live in the same building, just meters apart from each other.

To reinforce the impression that the characters are « acted upon » by society, without true personalities or free will, speech is treated in the same manner as in Playtime: dialogues are reduced to indistinct mumbling. Conversely, the performance places great emphasis on mime and gesture, creating a « societal choreography » that corresponds to the idealized image of perfectly orchestrated happiness, as it was envisioned in the 1960s.