The term ‘plot point’ is used to describe the moment in a screenplay when the story takes a different turn. In Plot Point, Belgian filmmaker Nicolas Provost uses many editing tricks to suggest something dramatic is happening, but in reality, we as viewers are trapped in a dead end. This is paranoia in its purest form: fear of something that is not real.

With a hidden camera in his pocket, Provost spent five evenings in Times Square documenting tourists, police officers, and cars. The busy streets of New York City are thus transformed into a fictional, cinematic setting. Provost plays with our collective memory and its cinematic codes, questioning the boundaries between staged, suggested reality, and authentic fiction.

Despite the compelling suspense, this is not a classic film. The work consists solely of a paranoid atmosphere and can also be read as an ironic commentary on American hysteria after 9/11.