At the mouth of the Rhone, Jacques Renaud and his fiancee Lisette are cursed by a gypsy woman as punishment for their wrong decision.

In the heart of the Camargue region, in the south of France, Jawad and Belka find freedom in their love of Camargue races. For these young Maghrebi men, the event is more than a simple tradition. Facing off with a bull is an opportunity to establish their place in the arena—and in French society. But at what cost?

The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.

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The young Huguette arrives in Camargue to take over the farmhouse and the breeding of bulls from which she has just inherited - Huguette has to face the thefts of horses and bulls by the Romanichels and stand up to the Gardians, who do not appreciate being commanded by a young woman. Fortunately, her neighbor Fred will be there to help her to overcome all these obstacles.

A gypsy has cast a spell on Livette, the fiancee of Renaud, the proud guardian nicknamed, King of the Camargue. Renaud wants to punish the witch who frightened Livette. But then, meeting the gypsy, he is taken under the strange spell that emanates from her. She arranges to meet him in an isolated hut in the middle of the muddy ponds. Livette, warned of her betrothed betrayal, goes to the place where she is to meet the infidel. But Renaud changed the stakes that line the only fordable passage. And Livette dies, even more from Renaud's betrayal.

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A short 6-minute essay-documentary by Maurice Pialat on the region in which much of the action of Nous ne vieillirons pas ensemble unfolds.

This charming short film was shot in the Camargue, probably in the same place where Jean Durand filmed his cowboy movies. The plot is very simple. A guardian falls in love with a Parisian. Desperate, he commits suicide when she returns to the capital. But, as always with Perret, we appreciate the framing, the skilful use of the exteriors and the documentary side of life of the time. We see the young Arlesianas in traditional dress go out to collect almonds and return with their baskets to the city. The actor in the role of the guardian overreacts, imitating bombastic despair. But the finale, in which he rides a horse through the waves to find the rest of death, preserves its charm intact. Perret knows how to set the rhythm of a sequence and give it the necessary atmosphere.