Jacques Audiard's modern love story does not begin with people, but with cool facades: the camera slowly glides along the windows of the unromantic residential towers of Paris's Olympiades district (original title: “Les Olympiades”) in the 13th arrondissement. Behind every window lies a destiny, as the film's opening suggests. While searching for a roommate, Émilie (Lucie Zhang) meets high school teacher Camille (Makita Samba). Their exciting affair lasts two weeks, then the commitment-phobic man moves out again and meets shy law student Nora (Noémie Merlant). She, in turn, is attracted to cam girl Amber (Jehnny Beth). Three girls and one boy. They are friends, sometimes lovers, often both. Jacques Audiard's couples are often characterized by their contrasts (“The Taste of Skin and Bones,” “Emilia Pérez”). His ninth feature film is based on the short stories of New York comic artist Adrian Tomine, which are considered unfilmable due to their lack of drama. The result is a serene, romantic, yet passionate love story that was invited to compete at Cannes and received five César nominations. "It was a wise decision on Audiard's part to collaborate on the screenplay with two filmmakers who have made a name for themselves in recent years as narrators of young, female perspectives: Céline Sciamma, who won the screenplay award at Cannes three years ago with “Portrait of a Lady on Fire,” and Léa Mysius, who made her debut in 2017 with the unusual coming-of-age film “Ava.” The director has translated his view of the young characters into beautiful, clear black-and-white images that evoke memories of the Nouvelle Vague while remaining firmly in the here and now [cinematography: Paul Guilhaume]. Last but not least, the emotional ambivalence of his characters is also carried by the captivating actors." (Annett Scheffel, on: sueddeutsche.de) "Audiard's film does not readily reveal itself for what it is at its core: a comedy of manners. [...] Secretly, however, it spells out a second theme of modernity: identity. It is not fixed, but fragile and changeable. It is no coincidence that Nora attends a lecture on the legal and moral person. [...] In the editing room, Audiard and his editor Juliette Welfling draw on a range of tried-and-tested stylistic devices—iris fades, split screens, slow motion—which are used in a fresh and imaginative way. The individual chapters are announced by mischievous time references: they are called “How it began,” “A good month later,” and finally “Sunday.” It is difficult to imagine what promise lies in this date. You have to see it." (Gerhard Midding, on: epd-film.de)