People extends the fictional ambivalence seen in Mélanie Matranga’s first films (From A to B through E, 2014 and You, 2016) and explores the degrees of contamination from one to another, by following the multiple living conditions of these characters playing their own roles in front of the camera evoking illness, hypochondria, sexuality, motherhood, the precariousness of the art world, and the paradoxical enjoyment which results from it. Matranga shapes the outlines of a theorem of which People would finally be the first hypothesis.

I’m a private person, I’m a public mind evokes the obsession with language and the migration of speech proposing the investigation of existing and imaginary simultaneous relationships of the private and public emergencies through an analysis of the lexicon of attraction and intimate strategies.