Among the several  modes of representation at work in Soutter's third film, the opposition documentary/fiction is central. In front of a large regional map a journalist who is preparing a broadcast on Lenin's time in Geneva enumerates to camera his various addresses, and the film documents each of them. When the last of these, 61 rue des Maraîchers, is shown, a woman with a suitcase walks into the building, initiating the fiction:

Later we see the journalist's office as part of the fictional world (the camera angle has changed), as the scene of a discussion between the journalist and a work colleague:

The work colleague is the former boyfriend of the woman with the suitcase. We see him tracing on a map his way to the building she had arrived at. Immediately afterwards, the journalist plots on the same map some locations associated with Lenin, including that apartment building:

With the eventual implication of the journalist in the fiction around the woman, the documenting of Lenin's years in Geneva is abandoned. Rather, the film ends on alternative fictional modes - song and slapstick:

Not only the film most interested in its maps - of the films I know - but also one that supplies a rare combination of map and camera (satisfying - see here -  the two current enthusiasms of this blowoupien cinétouriste):

'The upside down map thus, ironically, provides a “corrected” orientation. One of the words appearing upside down on the map is Carouge – a district of Geneva, but also by its obvious pun, a designation of something that is not on the map: Auguste's red jeep. This inversion of the map coupled with the code written upside down on the map and designating something that cannot be part of the map's cartographic function force us to think that Kieslowski's atlas in this film is going to be of a world “à l'envers [upside down]” and one whose itinerary must be followed by some other code that we must substitute for any known cartography.' 
T. Jefferson Kline, Unraveling French CInema (Chichester: Wiley-Blackwell, 2010), p.102.