The Sofa
In a supermarket, in the sofa section, director Fabien Romains comes to choose the sofa that will be the main feature of the set for his next play. Priscilla Gabor, his ex-wife, who stars in the play, insists on deciding for herself which sofa she will rest her buttocks on. Edouard Le Tellier, the play's author and producer, and the actress's current husband, pretends to be interested in the debate. Finally, Olivier Leblanc, the salesman, who has always dreamed of acting, sees these visitors as a chance to promote himself.
Summary
In The Sofa (2022), a seemingly ordinary shopping trip becomes an increasingly absurd confrontation over art, ego, and personal history. In the sofa department of a supermarket, theater director Fabien Romains is searching for the piece of furniture that will anchor the set of his next play. The choice is more complicated than it appears, however, because the production’s leading actress is Priscilla Gabor, Fabien’s former wife. Priscilla refuses to leave such an important decision to anyone else, insisting that she should determine which sofa will ultimately support her onstage. Edouard Le Tellier, the play’s author and producer—and Priscilla’s current husband—tries to present himself as a reasonable participant in the debate. Yet the discussion quickly exposes the complicated relationships and rivalries beneath the group’s professional collaboration. Their arguments over comfort, appearance, and theatrical purpose become a comic battleground where old resentments and competing ambitions surface. The situation grows even more unpredictable with the arrival of Olivier Leblanc, the salesman assigned to help them. Olivier has always dreamed of becoming an actor, and he sees the visiting theater professionals as a rare opportunity to demonstrate his talent and advance his aspirations. What begins as a practical purchase gradually turns into a performance of its own, with everyone attempting to control the scene and claim the spotlight. Built around a confined setting and a tightly wound ensemble, The Sofa uses farce and theatrical self-awareness to explore vanity, jealousy, artistic pretension, and the blurred boundary between life and performance. The sofa becomes more than a prop: it is a symbol of status, desire, and control, around which the characters’ professional and intimate conflicts revolve.
