4 Lovers -four Lovers- -2010- [extra Quality] 〈Premium × 2024〉

Structurally, the film is a masterclass in using cinematic space to reflect psychological states. The majority of the action unfolds in a single, modernist apartment—all glass walls, open spaces, and sharp angles. This setting initially suggests transparency and freedom. Yet as the narrative progresses, these same glass walls become a prison. Characters can see each other from every room; there is no private space for grief or jealousy to breathe. Ouellet frequently frames one character in the foreground while another moves, ghost-like, in the blurred background. This blocking technique visually represents the film’s core conflict: .

The film has found a second life on MUBI and niche Blu-ray collector’s editions, often retitled for different markets. In Japan, it is known simply as Identity . In France, Les Quatre Amants . But the definitive search remains .

The characters are wealthy enough to have no real problems. Their sexual anxiety is a luxury problem. 4 Lovers criticizes the bourgeois tendency to politicize sexual desire. When one character whispers, “We are free,” the film’s cold color palette screams back, “You are lost.” 4 Lovers -Four Lovers- -2010-

You don't bring me flour anymore… movie review - Roger Ebert

The sound design is equally deliberate. There is no sweeping score. Instead, the audience hears the drip of water , the crackle of a record player , and the heavy breathing of people trying too hard. The silence between dialogues is deafening, reminiscent of Michelangelo Antonioni’s great works of alienation. Structurally, the film is a masterclass in using

Given the title, "4 Lovers" suggests a thematic coherence. It moves beyond a simple random collection of scenes. The word "Lover" implies a relationship, a connection, or at least the pretense of one. Unlike titles that focus on specific fetishes or power dynamics, "4 Lovers" promised a focus on romance, intimacy, and the variety of interpersonal connections.

: 1.5 / 4 stars, calling it a sex movie where "the good parts are the dialogue". Review Highlights Yet as the narrative progresses, these same glass

The story follows two seemingly ordinary couples: (played with raw intensity by Fabrizio Gifuni and Alba Rohrwacher ) and Elena and Dodo (played by Laura Chiatti and Giuseppe Battiston ). Each couple is in their late 30s, professionally successful, and comfortable in their long-term relationships. But comfort, the film suggests, is the enemy of passion.

The four decide to enter a consensual, "no-rules" arrangement where they swap partners and spend significant time together as a quartet, including shared vacations and family meals. The Conflict:

The screenplay was co-written by and Julie Peyr , with a score by Frédéric Verrières and stunning natural-light cinematography by Nicolas Gaurin . Critical Reception