In the first part we see a rather down-at-heel young lady, taking a drink at a table outside a café. She has bags under her eyes and a missing tooth. In the second part of the film, we see another woman who, having been cruelly rejected for another by the man she loves.
Now, no more laughing friends, it's time to look at the condition of women, their loneliness, the scorned love that turns into tragedy, thanks to the famous Germaine Dulac, the second French film director and avant-gardist at the forefront of the feminist struggle. In “Celles qui s'en font” she explores the feminist theme by staging two songs that respond to each other (Toute seule and A la dérive) and describe situations of women who are victims of their submission to men. The formal research work (which she nicely entitled 'cinematographic impressions') is interesting, even if it may sometimes seem a little conventional today, but it is imbued with a nostalgia and a force of suggestion that continues to act. Germaine Dulac lingers admirably on the character of the female victim mimed by Lilian Constantini, whose face is very moving and expressive. This ancestor of scopitones on Prozac is a rare curiosity in the director's filmography and undoubtedly her last film.