Turned towards an organic incarnation whose common thread is the departure-return report from the native island, the territory of origin, Frénésies starts slowly with a misguided character "I had the ocean as far as the eye could see but I was without horizon", sometimes candid: Thomas (twin in Aramaic). He meets his inverted double, free and without attachment, real or not, to the public to decide, Bilal (the name of the Patron saint of the muezzins, the one who sublimates reality by sacralizing it. It also represents water in Arab culture, the elusive, the intangible, the one who overflows, who flies, who engulfs), who will do it juggling disturbing and ecstatic situations during the course an unforgettable trip on American roads. Everything contributes to tighten the room towards a philosophical, mystical climax, an intimate ritual to reconnect with oneself, with one's roots, thus becoming a new genre: an initiatory road-theatre.