Whether a pianist behind the camera or a movie lover at the piano, Jean-Baptiste Doulcet takes the listener on a trip through film history by means of improvisation, an art around which he successfully built the whole of his musical upbringing. From Bergman to Varda, to Mizoguchi, Lynch or Buster Keaton, music becomes a re-direction, a recreation, a second motion picture meant as a tribute whose styles, forms and atmospheres vary significantly.