On a beach in Normandy, Sergio Trapani realized one windy day that he could no longer relax as he had intended. He understood that he was staging a highly meaningful and very serious representation of life, just like all the people he was seeing and crossing paths with.

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He decided then to film what was happening with a fixed camera. The characters populating the vast extension of sand in low tide are clearly visible in the foreground, they become increasingly smaller silhouettes as they move away, some of them becoming even tiny dots on the horizon. These people walk, converse, swim, play, search for seashells, fish, sit, and lie down. They seem like actors in a choreography meticulously studied in every detail.The movements of their bodies, in many ways, break free from the strict and dictatorial codes that govern gestures in ordinary lives. They are irregular, discontinuous, disharmonic, contradictory, often even disjointed, and open to playfulness and freedom from the form. Even in those bodies who seem more normal, one can read hesitation, embarrassment and enthusiasm in contact with a freedom that is not usual, a liberation that somehow needs to be inhabited. Only children have the ability to fully take advantage of the lack of constraints, running and fully experiencing the profound seriousness of the game.

The beach thus becomes a place of expression, a stage where an involuntary self-representation of each person's prisons takes place. Giacomo Sartori accompanied with words these testimonies of disintegration and unconscious contamination, highly revealing of the oppressive nature of the behavior. Knowing that words are filled with limitations and obligations, they are also prisoners of unconscious automatisms. However, words, when free of their burdens, can serve to name the stereotypes and clichés that condition and guide the actions and thoughts of beachgoers, of contemporary men.