Choses qui me rattachent aux êtres

Choses qui me rattachent aux êtres unfolds as a quiet inventory rather than a conventional story. Boris Lehman reassembles his life by listing objects he has received from friends and kin, letting ordinary things stand in for people and memories. Each item becomes a doorway to someone close, yet never fully names them. A mug from a morning routine hints at ritual; a scrap of fabric speaks of a grandmother; a tool recalls a cousin's hand at work. The film treats identity as a network of associations rather than a single essence, using metonymy to suggest that who we are is shaped by what endures in our surroundings. The result is intimate, cinema that invites reflection rather than sensational turns.

Directed by Boris Lehman, this film continues his intimate documentary practice. It appears to be an original study rather than an adaptation, aligning with Lehman's focus on everyday life captured through personal objects and steady observation in intimate unscripted sessions.

Box office data for this niche work are not widely reported, reflecting its status in art house circuits rather than mainstream release. It exists mainly for viewers seeking quiet, reflective cinema rather than commercial success at small venues in arthouse circuits.

Reception centers on the film's meditative handling of memory and identity. By treating personal belongings as stand-ins for people, Lehman turns a simple inventory into a meditation on connection, time, and the way relationships endure through objects rather than through speech, especially in academic and festival contexts. Those who approach it slowly find that what is not said by the characters matters as much as what is shown.

Cultural impact is modest, typical for a discreet experimental film. Yet for fans of Lehman's work it offers a nuanced blueprint for using ordinary objects to illuminate human ties, a method some later artists echo in minimalist, memory focused cinema, for cinephiles.