It’s hard not to ask if “Watch Me Not” might have been a more fitting title. The premise—an exploration of how individuals navigate intimacy, both emotional and physical—held promise. Instead, the film stretches out for an excessive two hours, placing viewers in the presence of Laura Benson as "Laura," along with Tómas Lemarquis as "Tómas" and Christian Bayerlein as "Christian." Their behaviors, perspectives, and surprising reactions are shown alongside those they interact with. A particularly involved therapist, Hanna Hofmann—who is transgender, though that seems irrelevant to the film’s overall purpose—guides much of this meandering exploration, which masquerades as a thoughtful examination but feels more like soft-core pornography. The biggest problem lies in the relentless and unnecessary dialogue; it transforms what should be a dramatic experience into something resembling a lecture or documentary intended for those with a particular interest. Adina Pintilie, who also appears in the film, clearly intends to communicate something, yet she fails to create sufficient separation between reality and fiction, leaving me unsure of her point. Everyone has limits, and these aren't always consistent—whether personal, emotional, or physical—so it’s difficult to understand why such a straightforward approach to human nature is presented as if it will generate understanding. Exposing vulnerabilities can be challenging to witness, but the film’s detachment makes it merely an observation. I felt like an eavesdropper on private conversations between people whose lives held no particular interest for me. By the midpoint, I found myself staring at the cinema ceiling, questioning whether anyone could consider their own experiences compelling enough to share in such a fabricated and artificial manner. Perhaps my timing was simply off, but this film awkwardly straddles several categories and ultimately failed to resonate with me.

Source on TMDB