The surrealist painter René Magritte questions the objective reality and emphasizes the arbitrariness of the relationship between an object, its image and its name: the evocation of mystery consists of images of familiar things gathered or transformed in such a way that they no longer conform to our ideas, whether naive or wise.
The first part of a Magritte portrait, mainly compiled from fragments of staged enactments of situations, which Magritte recorded with, among others, Georgette Magritte, Paul Colinet, Irène Hamoir and Scutenaire, playfully described by the latter as "une histoire érotico-fantastico-iconoclaste".
With the help of his friends and wife, Magritte films sketches without any narrative coherence, a series of filmed installations (sometimes involving the painter's favorite iconography) that revel in the burlesque spontaneity of the shoot. “'Cinema for intellectuals' never amuses me and I expect nothing from cinema other than amusement, futile if you will, but which few films manage to arouse” --René Magritte
