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Beyond sprocket operas looking for films with a topical edge, this is strictly niche fare. An audacious opening Steadicam shot starts with a rather unusual anatomical closeup on a nudist beach. Franck Van Den Eeden follows the woman until she rests her eye — and the camera zooms in on — the face and naked bust of a particularly well-built man, Amadou Issaka Sawadogo. Captured in flat, drably colored and antiseptic shots, this is a city with a distinct lack of warmth and a constant sense of hostility lurking in the shadows. Amadou works illegally in construction while trying to care for an ill man Dieudonne Kabongo from his home country. When Amadou spies an attractive businesswoman, he becomes obsessed with her and follows her around like a madman — instead of worrying about where he might sleep that night or get something to eat. Newcomer Provost clearly struggles with the demands of sustaining a longer narrative, in terms of storytelling as well as visuals, with occasionally awkward cuts between establishing shots and closer views.