[1] The film is an investigation into the works and history of the first modern Polynesian sculptor, Vaieretiai Mara, who signed his sculptures Mara V. A very prolific and recognized artist during his lifetime, fifteen years after his death he was almost forgotten, his works being for the most part preserved in private collections and not having been the subject of any catalog or posthumous exhibition,[2] he remained known only through a book devoted to him by Patrick O'Reilly in 1979.

For the scenes where he is at work and sculpts wood, coral or stone, the hands of Gilles Mateha Mara, son of the artist and also a sculptor, are filmed.

He collects blocks of coral washed up on the shore, a large root which he cleans in sea water as well as driftwood, with which he fills copra bags before loading them on the back of a horse.

In Paimpont in the Brocéliande forest, Sylvie Gaubert Gruel tells how her military father ordered a large wooden bas-relief from Mara in the early 1980s.

In Tahiti, it is Michel Mara, the sculptor's eldest son, who opens the doors of his house located in Erima on the heights of Arue.

In this chapter, the sculptor's family recounts his difficult childhood, beaten by a stepmother who did not want him after the death of his mother when he was two years old.

Then it was the turn of Miriama Bono, director of the Museum of Tahiti and The Islands, to express her appreciation of Mara's work, and the interest for Polynesia in making it a major exhibition.

Marie Madeleine and Jeanne Mara then provide some details and present the sculptor's copy that they keep, corrected by his hand.

The emperor of the black pearl Didier Sibani then opens the doors of his vast property, with a very colorful garden, in which we find coral sculptures.

Michel Mara remembers his father's extraordinary physical strength, capable of carrying a tree trunk alone.

Excerpts from an interview with Miguel Hunt and some images of the meeting between Michel Mara and Jean Guiart, who had just published the sculptor's inventory.

[8] The film ends with a sequence where Mateha Gilles Mara models a bust of her father in clay.

Multibroadcast on the TNTV channel, the film was also screened at the Musée du quai Branly at the beginning of 2020 in the presence of the director, as part of an Oceanists cinema cycle.