The protagonist in French director Jacques Nolot's drama - the last in a trilogy - concerns a bon vivant, now HIV - positive, and his philosophical and
wry outlook on life as he faces his final chapter.
Perkins demonstrates how this postmodern approach to the politics of film creates
a wry outlook that is «not entirely joking» (p. 29); detectable in the slightly skewed characters in The Royal Tenenbaums (Wes Anderson, 2001), Clerks (Kevin Smith, 1994) and Magnolia (Paul Thomas Anderson, 1998).