Water drops on burning rocks. Over drinks, while the two discuss Franz's girlfriend and their marriage plans, Leopold succeeds in seducing him. Over the next six months Franz changes from giddy, carefree youth to browbeaten housewife, unable to leave the increasingly cranky Leopold. The sex is great but their arguments intensify. Just as they are about to flee, Leopold returns.
Domestic tragedy becomes bedroom farce - until the farce turns tragic.
Though surely autobiographical, the script departs in the final act from the realm of psychological realism to become a parody doom-laden Romanticism. Set entirely in Leopold's apartment, the evocative camera work, simple but stylish art direction, and first-rate acting ensure that the film never feels claustrophobic or uncinematic. Ozon shows seventies-style Free Love to be anything but liberating. Ozon's direction respects the theatrical nature of the piece but is sufficiently cinematic to lift the film from its stage origins. A highlight in the mostly funny fourth act is a scene in which all four protagonists suddenly launch into an impromptu dance ensemble.