Jérôme is a director who wants to make an important film, a film that embodies our time and the sempiternal crisis of the present-day. He wants to make a film that brings together social issues and comedy, intimism and surrealism. Jérôme wants to make a film about chairs. Objects symbolising all semi-logical reasoning, everyday tools that are easy to use; chairs are the perfect incarnation of all productive processes, a simple icon for talking about economics and production. That said, just like a pile of stacked chairs, this is a film with many layers and levels. Nanni Moretti, Elio Petri, mockumentaries, video installations; Jérôme and his film about chairs spans all cinematographic phases, all genres, to become a film without genre, destructured, delocalised. God\\\'s Chairs takes the viewer off on a tangent: who are the characters? Is what’s happening real? Whilst the footage of Jerome’s film unfolds, even the very borders of the film the audience is watching start to blur. Enrico the sceptical producer, Simone the penniless writer, France, Italy, China. Whether they be passionate, committed, indecisive, annoying or captivating, the characters are every possible declination of the (artistic) cinematographic product, and perhaps, like every good product that respects itself, will risk not being included in the production.