Lillan’s interpretation of violence is carried by rare strength and hunger

Louis’ book consists of various narrative voices that fill in and jaw at each other. The police interrogation, the sister’s monologues, the self that breaks in. Here, the dramatization does something phenomenal. The cross-cut narrative sets the mood, but is then pushed aside to break up a sphere dedicated to Andreas Kvisgaard (Édouard) and Salomon Z. Patrick (Reda; the object of love, the perpetrator, the stranger).

They meet on the street and spend a night together. The hours drag on in spaces, as if everything fits in them. The bodies move along the entire stage in a circle of tenderness and lust, so slow, so intense. The viewer who has already reached the end follows the incredible, delicate acting with bittersweet devotion. When the mood tilts, it’s still a cold shower.

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