A German film director, his English husband and a Frenchwoman they meet at a club form a distorted love triangle in the indie filmmaker’s Paris-set drama.
There are unlikable protagonists, and then there’s Tomas, the tragicomically insufferable narcissist at the center of Ira Sachs’. A German film director living in Paris, Tomas is, to borrow an overused term, “toxic” — a guy who lies and leeches, connives and cajoles, fucks and finagles his way through the world, his talent and impish, overcaffeinated magnetism clearing the path.
The most endearing thing about Tomas is how utterly decipherable his awfulness is. The fragility of his ego and his insatiable need to be not just desired, but revered, coddled, stimulated — you name it — are so evident as to be almost touching.
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