Monsieur Hulot, a character created by Jacques Tati, is in a modern part of Paris. It’s unclear why he is in this place made of concrete and glass, but he wanders around, meets friends, and observes the world with curiosity. Meanwhile, a group of American tourists explores the city in their own typical way.
The film is full of humorous moments, with one of the funniest scenes taking place in a newly opened restaurant that is unfinished, dysfunctional but nevertheless fully booked.
The relationship between the characters is unclear, yet they keep crossing paths without realizing it. Alongside Hulot, a quiet American woman appears throughout the film—sometimes as part of the tourist group, other times exploring the city alone.
In the end, Hulot gives her a souvenir, which she accepts without knowing who gave it to her. Despite everyone’s good intentions, the film highlights the disconnect between people.
The entire movie could feel sad if not for the scattered moments of humor.
In this sketch, the American woman stands next to an elderly flower seller while a soldier directs them into position for a photograph. The irony is that earlier, the same American tourist has been trying to carefully arrange the flower seller to create an “authentic” Parisian scene. Now, unexpectedly, she has become part of someone else’s idea of an “authentic” picture.
