Subor plays a man who seems to lead a fulfilling life in rural France, swimming in the lakes, followed by a pair of lovely, calm and loyal Japanese dogs, and exchanging sly smiles with a neighbor (Béatrice Dalle) who takes care of the local wolf. community. But something is wrong. He squeezes his chest while swimming one day. A young lover, visiting, reassures him by bringing him his medicines. Soon we see Subor on a computer, receiving messages in Cyrillic about a procedure being prepared, apparently for him.
“Your worst enemies are hiding inside… in your heart,” says a mysterious young woman at the start of the film. It is usually a metaphor. But Denis based this film on an essay by French philosopher Jean-Luc Nancy, on surviving a heart transplant. Both the tale of “The Intruder” and its eventual expansion into a daring series of poetic flights – sequences that lean heavily on metaphorics – were inspired by Nancy’s reflections rather than by the events he specifically had. described. Thoughts on medicine and the prevention of death, and the end point of staving off death. It’s a weighty thing and Denis gives it all his respect. But she also insists, with this film, on freedom – cinematographic, poetic, intellectual – because freedom is, one could say, one of the points of life itself.
As Subor’s character appears to be preparing for a heart transplant in Russia, he squares up, awkwardly visiting a struggling adult son as he raises a family. He tries to put his dogs in a safe place with Dalle’s character, but she pushes him away: “They’re as crazy as you … get out, you’re driving my dogs crazy.” But she smiles as she says this, with irony and tenderness. So Subor sets them free, and he watches them back down the dirt road as he walks away, a dismal trumpet and a synth stretching a theme on the soundtrack.