They are called “Caught in the Headlights,” they are actors. Her name is Laurette, she is a director. It’s a space of freedom that the young woman tries to create, far from Paris, from the agents, from the race for roles. A utopian parenthesis that faces reality. Like every summer, they meet in Gavaudun, her village, surrounded by her family. Twenty days to put on a show, in a location that Laurette keeps a secret. Twenty days to invent, play, question yourself. Before coming back the following year?
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During a languid and peaceful summer in the 17th century, six young women dream of love. Directly or indirectly, each of them will experiment with the delights and torments of romance–desire and rejection, idealized and consummated love... Nina and Eulalie are sisters who share a strong bond. Eulalie, the eldest, is waiting for the return of her fiancé, who has left to seek his fortune in the Americas, while Nina seems to have nothing to wait for. Through nine chapters, we follow the destiny of each of these young women as they are finally confronted with the reality of a world and an era in which being a woman means not being free. Nina and Eulalie weave their way through each of these stories as they endeavor to understand and perhaps escape the inevitability of their fate as women.
Ariane is a single and lonely woman who craves love after a history of abusive relationships. The birth of her child represents a chance to start everything anew and form her own happy family, but she worries about not being up to the task. As the birth draws near, Ariane gets haunted by monsters manifesting her anxieties about motherhood and starts to feel uneasy about what is growing in her stomach. Through her fight with the monsters and her discussions with her friends, Ariane increasingly questions herself: Will she be able to take care of her child properly and love him unconditionally?
