In the same time, it’s an art lesson and a life lesson. Film plays with this threshold between a classic approach and a romantic approach both in its narrative and in the way the film is filmed. It builds this relationship in a sublime way, conducting the shots and the reverse shots in order to reinforce these two poles: the classicist detail when focusing on the hands, the ears, the jaw; the romantic detachment present in the gradual concession to a passionate representation.

And has in this bridge between these approaches a kind of a sensorial rupture, a transition in the way of seeing (and being) that highlights the ontological essence of art (and life), as well as the consequences intrinsic to this style; to that existence. It builds a synthesis of the battle of these poles in which there is a drive that maximizes the drama of human existence. It’s Marianne's look, which is projected at the end of the film and which is not reciprocated by Hèloïse, delivered to pure feeling.