How is it that a security guy with an impeccable driving record transports huge sums of money for ten years, then one day vanishes into thin air with his van? This question interested the filmmakers more than the "action” side of a case that became the talk of France in 2009. What did Toni Musulin go through before deciding to exchange his tranquil life for that of an outlaw on the run from the police? Without meeting the actual perpetrator of "the crime of the century,” who is still doing time, the script writers attempted to reconstruct a portrait on the basis of available facts and testimony: they discovered a person simply fed up with his place in a society that barely acknowledged his existence. 11.6 does not belong to the crime genre, rather it is a psychological film with elements of social realism. Although the media try to turn Toni Musulin into a modern-day Robin Hood, François Cluzet conceives Toni as an antihero behind whose ambiguity we sense a certain dash of mystery. And not only because part of the loot still hasn’t been accounted for, but also and mainly because of the kind of person the protagonist is deep inside.