November beats to the rhythm of daily life, offering a documentary experience where the process creates the narrative framework. Indeed, the method and form of the documentary are intrinsically linked to the story being told.

The narrative tapestry is woven through encounters, from person to person. One person's life leads us to someone else's life, which leads us to another life and so on. The film thus makes visible the connections that unite the inhabitants of Montreal. Our lives are guided by certain principles, choices, obligations, and tastes. Our actions are tinged with certain values, our movements motivated by certain intentions. These are the hidden aspects of urban agitation.

November reminds us of the importance of each of these actions and invites us to look up to others. At the time when November was conceptually taking shape, Diane Poitras was launching her documentary "Nights." This work immerses us in the heart of Montreal through a multitude of nocturnal encounters, and it inspired us. November continues a similar quest for intimacy, while connecting people to each other in the city, somewhat in the manner of Richard Linklater's fiction film "Slacker," but with the constraints imposed by the unpredictability of reality. Not knowing exactly who the next person we will follow will be is an integral part of the game.

The cinematic process promotes the plurality and spontaneity of encounters, but we still take the time to listen to the buried truths that contribute to shaping our personal and collective identities. As our lives intersect, the city reveals itself through its many faces. A clue, a glance, a sound, an exchange, a transaction transports us from one universe to another. November invites itself into people's lives and lingers on certain stories until the time comes to move on to other unknown individuals.