WHAT A LOVELY DAY

Tommy hadn't planned to hide in a trunk to escape his classmates, Harry and Irene hadn't planned to be taken hostage on the road by a bank robber, and Ted hadn't planned to be wanted by the police after his heist. What a lovely day! If only they weren't all in the same car...

In 'What a lovely day,' the viewer witnesses a day in which nothing unfolds as expected. Like Russian nesting dolls fitting snugly within one another to become one, we wanted each event in this story to conceal another, only to see them all converge in the end, rendering the narrative organic.

Run, Tommy! Run!

As a child, it's unlikely you'd have to hide in a trunk to escape threatening classmates, let alone find yourself trapped inside when the owners leave the parking lot with the car. It is on this logic of escalating misfortune that the plot developed.

The clock reads 21:13 on the dashboard. The car advances on a deserted country road.

This whole day is a nightmare, but we will witness it with complicity. From the start, we have information that some characters would need to avoid the worst, and at the same time, some of them hold elements that prevent us from any anticipation.

After a particularly talkative first short film, Samuel wished to write a much more visual film in which tension would pass much more through images than words. Here, each shot had to convey information and emotion.

If you've never been trapped in the trunk of a car, held up by a criminal, or chased by the police, and if the experience tempts you, 'What a lovely day' will make you live all three at once with intensity in less than 15 minutes!