The young man's father, a trade unionist and party member, needs Odette's help as he prepares a video about the printing press as a means of communication.

She eventually convinces the unionist to set aside the Portuguese photo, too loaded with symbols and iconographically linked to other images of raised hands, from Adolf Hitler to Mick Jagger.

Persuaded by Odette, the unionist resumes his critique of the information system in which the Communist Party is also stuck, but when he presents his proposal to the central committee, it is rejected.

The idea for the film was born in Paris, in the offices of the newspaper Libération, when, in mid-September 1975, Godard was discussing with about ten editors a photo published in the press: it was the black and white snapshot contained in a report on the Carnation Revolution that had overthrown fascism in Portugal the previous April.

[2] The first act is the observation that television has won the war against cinema, and that as a result everything goes faster: "We go slower, we have to break it down," says Miéville's voice, and again: "Starting from an image, from a single one, like an atom, to see how it moves and how it all is.