Paolo and Maria are two ordinary newlyweds who live just outside their town. One morning Paolo goes out to buy some fish and doesn't come home. Down in the main square, a woman has had a valuable necklace snatched by a teenager on a lark. When the thief gets away, Paolo, whose path has crossed that of the woman and the townspeople, is accused by the victim of pulling off the heist. He tries to run away but is picked up by a cop and taken to a basement, where the policeman orders him not to move and await his return.
Around the sleeping bodies, some presences occupy the architecture and move around the space in obscure activities: nothing of their actions is visible to us, except in the fragments in which the image shows itself under the flashlight. Monelle is a circular film without any narrative or hierarchy, without a beginning or an end, and it circumscribes a place of promiscuity and ambiguity between the different formats used—35mm and CGI animation—and the approaches of two opposites film attitudes—the structural cinema and the horror genre.
