n its 5 chapters that carry poetic titles borrowed from Rimbaud or from other powerful voices, L'IMPOSSIBLE moves from Calais to Paris, from black & white to colour, from mute to sound, from Super 8 to video, from muffled words to free jazz, from the snow of winter to the recent uprisings of May 1st, from the bodies of migrants to leaflets denouncing the chameleons of a class that is in power. If these current events burn with urgency to the point of reddening the frames of the film, it is an actuality that does not pertain only to the present. It stretches between a past and a future that the editing brings together.