Al (Raphaël Personnaz, ANNA KARENINA), a young man from a modest background, is set to marry the boss' daughter (Adèle Haenel, WATER LILIES) and take over a percentage of the car dealership where he has worked his way from the bottom up (his mother worked there before him as a cleaner). On his way home after a night of celebration, he accidentally hits Adrian (Rasha Bukvic, TAKEN) and is convinced by his co-workers to flee the scene. Unbeknownst to him, the accident has been witnessed by student Juliette (Clotilde Hesme, MYSTERIES OF LISBON) who reports the accident to the police. After checking up on the Adrian at the hospital, she takes it upon herself track down his family and discovers that he is a Moldavian illegal immigrant. Juliette cannot help but be there for the man's wife Vera (Arta Dobroshi, LORNA'S SILENCE) whose illegal immigrant status not only prevents her from pressing charges with the police but also from getting aid for her husband's mounting hospital bills. A guilt-ridden Al checks up on Adrian and is recognized by Juliette who tracks him down and urges him to turn himself in. Juliette is surprised that Al isn't the cold-blooded "bastard" that she assumed was the hit-and-run driver and reluctantly agrees to transfer money he plans to scrape up for Vera's husband's medical bills. Al sells his own car and another car from the dealership cheaply, but his two co-workers - who would get jail time as accessories to the crime - and his boss (and future father-in-law) are watching him. Things get worse when Adrian dies and Vera's family start pushing Juliette to give up Al's identity or have him pay 20,000 Euros for Vera to take her husband's body back home.

Catherine Corsini's THREE WORLDS lives up to its title, not so much in the sociological explorations of the social and economic environments of the characters, but in how the actions of the three leads are dictated by their emotions rather than plot mechanisms. Because of this, the superficially "movie of the week" plot never quite unfolds as expected. Corsini desired to "approach the moral questions through a suspense plot", and it her credit that we feel both for Al's guilt-ridden conscience and the righteous anger of Vera and her family (Juliette's angle does not feel as strongly developed, however, so we only feel concern for her at the threat of physical violence from Vera's family and Al's co-workers who at first think she's just a hook-up until they tail Al and notice that her balcony faces the scene of the accident). If the ending is not entirely satisfying, it's only because it probably should have faded out before that final silent scene.