In her first film Hic Rosa, partition botanic (Hic Rosa, Botanical Score, FID 2007), Anne-Marie Faux put the figure of Rosa Luxembourg at the core of a political and poetic reflection on commitment, its purpose and the necessary to transcend it. Here, the project takes a different, more intimate and audacious turn: she puts to the test her own experience, utopias and desires. There is no denying that autobiographical intentions and introspection have their pitfalls. But a man's voice off screen sets the tone from the start: "There is no such thing as a private diary. The very expression is nonsensical." No chance then to see outpourings, confessions or explanations. Here, the "I" unfolds in bits and pieces. From one reading to another, through various bodies and voices, the words get muddled up. Anne-Marie Faux intertwines her own family tales taken out of the History of the century with fragments of texts borrowed to others, which she uses as a solid base. Voices and bodies, yesterday's and today's faces, from one time and one life to another, slowly weave a personal path. Along the way, she furtively pays tribute to Virginia Woolf or Chaplin, among others, thus interlocking the inner and the outer space. The film gives an insight into private gardens, childhood nooks and crannies, where entangled political and intimate realities become an invitation to keep on "living and climbing, head on to the wind", as Rosa Luxembourg's words call upon us to do.