Provost shot this final part of the ›Plot Point‹-Trilogy in Tokyo. He here presents the man in the street as a film protagonist whose reality lies somewhere between a dream and a nightmare. In these three aesthetic reinterpretations, Provost, using seemingly insignificant raw material, not only moulds mystical spaces that compelling absorbesrb the viewer, but also masterfully shows that the dream-world called ›cinema‹ is simply a constructed parallel reality comprising clichés, technical rules and dramaturgical conventions..