Plot
The film opens with a scene of Paris as night falls, before moving on to a journey through the city streets ("Unknown Caller"). At the end of the trip through Paris, a motorcycle cop (Taghmaoui) sits on his police-issued motorcycle, staring at some graffiti on a wall which reads "Fuck the Police" in French. Kicking his bike over, he pours gasoline on it, sets it alight, and watches it burn ("Breathe"). As dawn breaks, he gets on his own motorcycle and begins his journey through the French countryside before crossing into Spain, aiming to see his girlfriend in Tripoli ("Winter"). Pulling off for a break part-way through the journey, the cop lies on his back and watches a cloud form the image of the African continent before falling asleep ("White as Snow"). Waking up, he resumes his journey across Spain ("No Line on the Horizon").
Upon coming to a town, he pulls off for lunch and enters a small café which, with the exception of the waitress (Brocheré), is devoid of people ("Fez – Being Born"). Bored, the waitress flicks on the television and they watch a U2 music video ("Magnificent"). Resuming his journey, the cop travels through the countryside until making a stop in Cádiz ("Stand Up Comedy"). Walking into a bar, the cop attracts the attention of a woman who begins to dance (Barrio), while the barman (Vazquez) serves him several drinks. Leaving the dancer his keys on the table, the cop goes to leave the bar, but as he does so he looks through a peephole and observes several women with moustaches dancing ("Get on Your Boots"). Walking alone through the streets and with no place to stay overnight, he makes his way down to the beach and falls asleep on the sand ("Moment of Surrender"). Waking up in the morning, he rents a rowboat and begins to paddle his way across the Mediterranean Sea to Tripoli ("Cedars of Lebanon").
Read more about this topic: Linear (film)
Famous quotes containing the word plot:
“Trade and the streets ensnare us,
Our bodies are weak and worn;
We plot and corrupt each other,
And we despoil the unborn.”
—Ralph Waldo Emerson (1803–1882)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)