“Why did you kill her?” Lou asks Philippe again. The life-odyssey of Joana, a modern-day Moll Flanders, continues as she moves through different times and places, like the stations of a personal via crucis, with occasional leaps into the present. From Paris to Rome and on to São Paulo. The body has lost every value, except the economic one.

DIRECTOR'S NOTES
“There is never a real break between one of my films and the next one. Hotel de l’Univers continues Casa dolce casa (2012), but it is also different (otherwise, why make it?). It is the ideal trilogy ‘of so-called lost men and women,’ or rather, of women and of men who are lost. Prostitution and the commercialized body are the symbols of today’s world, and recall Marx’s Das Kapital. More than ever, it is an investigation for me, not in the sense of investigative cinema, but of cinema that questions our lifestyles. A prologue and five paths ‘from home toward,’ more or less paths of initiation in singing and music. Everyone in the movie is going somewhere and they all reveal something different, as they trace their path. Women and men oppose each other, ideally victims and executioners.”