On a train to Mulhouse, Samuel meets a writer, Muriel, and strikes up a bantering rapport with her. They part company during the journey. A few weeks later, Samuel shows up unexpectedly at Muriel’s place, intending to seduce her. She lets him take her, partly out of curiosity, partly for pleasure. But soon she is disturbed by his voracious fixation with love, which seems to be his only interest in life. Deeply committed to her work, possessive of her independence and intent on being respected, Muriel plays it cool at first; but then she lets herself be drawn into a duel of love.
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“I didn’t take long to make up my mind. It’s rare to be moved when you read a film script. It’s usually rather boring. Here, there was a love story, written and seen in a new kind of way. The role of Muriel, my character, is fabulous. She lives the story right through to the end. It’s a gutsy film and not remotely vulgar or voyeuristic. My meeting with Jeanne Labrune was the deciding factor. She’s a strong, yet very gentle woman and she gave me back my taste for the movies. It was a long time since anyone had done that.”
(Nathalie Baye, in an interview in “Le Parisien”, September 3rd 1998)