The film proper begins as Baillie takes the passenger seat of an older Honda and films an hour-long drive in the rain. Baillie's attention moves from passing images on the roadside to other vehicles to the raindrops that squirm across the windshield. Underneath the real-time gambol, Baillie supplies a soundtrack, ostensibly on a tape thrust into the car's cassette-radio player at journey's start, that lampoons local, folksy radio shows with snippets from movies, Golden Age radio, public service announcements and authoritative commentary by an incomprehensible child. The track lends a nostalgic air to a film devoid of humans as objects but filled with meditative rumination and startlingly poetic imagery, such as a large truck enveloped in the water spray kicked up by its own wheels.
Aimlessly whiling away their days in the concrete environs of their dead-end suburbia, Vinz, Hubert, and Said -- a Jew, African, and an Arab -- give human faces to France's immigrant populations, their bristling resentment at their social marginalization slowly simmering until it reaches a climactic boiling point.
Assassin Robert Rath (Sylvester Stallone) arrives at a funeral to kill a prominent mobster, only to witness rival hired gun Miguel Bain (Antonio Banderas) complete the job for him -- with grisly results.
The Dark Knight of Gotham City confronts a dastardly duo: Two-Face and the Riddler. Formerly District Attorney Harvey Dent, Two-Face believes Batman caused the courtroom accident which left him disfigured on one side.