Eugène, who writes a novel, and Constance, an independent radio broadcaster, are lovers. A mobile phone picked up by their friend and street wanderer Beatrice, leads them to become entangled with Raoul, who leads a secret revolutionary organization. Raoul’s surname is Debord, after the famous situationist. The recorded footage inserted here and there in the middle, and some narrations in the film, remind us of such situationism. Meanwhile, the fact that each of the main characters, except for Raoul, share the last names of the three screenwriters of the film, proves that this film is not simply fiction but also reflects real lives to some extent.
Along with the “radio,” which is also in the title, the “phone” also plays a big role in this film. If what covers the facade of the film, through sound and such, is the radio, then what creates constant traffic within the film is the phone. Although the characters express disgust of the phone and even fear answering it, they only enter the shots through the phone. The objects drive the characters. [HAHM Yeonsun, ma-te-ri-al]