Paris

Film set: Tomas, the director, is directing a scene; he intervenes by observing the details, gets annoyed because a glass is empty and because the actor has not yet understood that he has to descend a staircase entering a club where he will gladly consume a drink... nothing dramatic!

He has a stable relationship with Martin, with whom he has bought a house: they love each other passionately but he meets by chance Agathe for whom he feels an extreme attraction moreover mutual.

A casual sexual encounter turns into an obsession and leads him to spend nights away from home, justified with continuous lies to his partner who tries to defend himself against this inexplicable absence. Even when Tomas returns home he reads to the bed, despite the fact that Martin shows up in a seductive fuchsia robe.

The neglected partner therefore begins to entertain himself with a sculptural writer, and this detail annoys Tomas, who enters people's lives directly with a bicycle, with which he creeps into their homes as if they were his own. He does not accept other people, manifests selfishness and jealousy despite the fact that he is the first to betray and lie all the time.

Although "geometry is not a crime," Martin " the triangle no, he had not considered it": in fact, for the director both Agathe, now pregnant, and Martin should accept the compromise while he would not tolerate any further meddling in the triangle.

His hilarious late arrival at the dinner with Agathe's parents in evidently gay attire exposes him to the question of his mother who wants to understand whether moving from a relationship with a man to one with her daughter, who is pregnant with her son, leads him back to a definitively responsible choice, while a very serious communication omission forces Martin to make a final decision.

But Tomas, a selfish, self-centered, perverse narcissist as well as a manipulator, does not know in the least what a choice is and especially what a responsible choice involving a conscious question and a consequent conscious answer is. He is totally at the mercy of his own obsessions, his own serial lies and above all the acephalous enjoyment principle.

He wants to get everything that turns him on without giving anything up, and with his bicycle, as he has entered other people's lives he will have to lose himself on the streets of Paris, to the unsightly rhythm of the Marseillaise and A perfect day, without knowing how and where or if he will find himself.

Sex, enjoyment, pleasure, impulse, entanglement, Passages from one situation to another seamlessly.

Tomas is an executioner/victim of himself, deluded and conceited: he allows himself no reflective fears between passages, and the ethics of responsibility do not concern him; he just lives.

Ira Sachs, packs a small/big slice of reality where the pseudo Lgbtq plus is disrupted mainly because here it is Agathe, a straight, unusual, cross, hybrid female figure, who nevertheless wants to build a family as, moreover, the two established partners Martin and Tomas wanted, who in this case fails to complete the direction of the film of her life.

Something went wrong in the script, again the details made the difference and independently directed the direction.

06-Aug-2023 by Beatrice