is certainly not a total indictment. There is a sense that Tomas, a fragile figure himself, truly is in need of Martin’s patience and acceptance. His hope that Martin and Agathe might agree to some kind of family structure with him at the center is in some ways a selfish request, but it’s also a fairly progressive one.
There are also moments of real tenderness and love in the film, particularly during sex. Sachs is at once deliberate and free in his depiction of it; the camera remains static for much of each sex scene in the film, finding one particular space and observing how the actors’ bodies fall in and out of it.
The length of the sex scenes is a key part of their eroticism — the viewer’s gaze lingers on bare skin, lost in the rhythms of their bodies. “I intended those scenes to stretch the capacity for the audience to be patient. They are scenes of duration, and shots of duration, and I think that inflects the rest of the film in a really conscious way,” the director adds.
Yet, Sachs says, “I don’t see anyone as being a victim in this film. Choices are made, but I do think the power dynamic shifts continually.” It does seem to pivot most often in Tomas’s favor, however, and as a filmmaker, the character is skilled at harnessing that power, too.
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