Margaret, 35, has a history of violent behaviour which has cost her a romantic relationship. She has moved back in with her mother Christina, a fragile, immature 55-year-old woman who blames Margaret, her firstborn, for ruining her dreams of a career as a concert pianist. In a state of unbridled fury during an argument, Margaret hits Christina. The law steps in, further complicating family dynamics. As she awaits trial, Margaret is forbidden from coming into contact with her mother or within 100 metres of their home. This only intensifies her desire to be closer to her family. Every day, Margaret appears at this 100-metre threshold to see her 12-year-old sister Marion and give her music lessons.
In La ligne, Ursula Meier continues her exploration of atypical family constellations, redefining the idea of a family “circle” to consider its topographical dimensions. Her astonishing lead actor is literally wrenched from this circle and from her mother in a manner reminiscent of the pain of childbirth. One of the film’s remarkable achievements is its shifting mood which, echoing its protagonists’ emotional insecurities, slips back and forth between comedy and drama without warning. The tonal choices and directing are assured and as striking as, well, a punch in the face.

Marthe与Michel带着三个小孩住在渺无人烟的荒郊中，平静家庭的幸福快乐生活，却因荒废十年的高速公路终于通车，让他们生活的一切乱了秩序。 拒绝迁移的他们，因来往的车流所带来的噪音与纷扰，引起他们的惊恐与失措。 这里是他们生活的所在，这个家庭如何面对改变后的生活环境？