As his feminine demeanor increases, he begins avoiding eye contact like a shy provincial girl, and his/her body language is flawless. Redmayne plays both Einar and his alter ego Lili more than capably. The marriage becomes a three-way relationship between Einar, Gerda and Lili, love balanced against a persistent edge of misery. Gerda’s erotic nudes begin to feature Lili’s demure smile. As they slip into the streets and parties with him in the character of Einar’s dainty cousin Lili, the couple deal with his long-repressed, and now increasing, feelings. Soon the pair are paying sex-role games of dress-up that arouse long-veiled realities about Einar. Drawing silk stockings over his legs and caressing a pretty dress against his chest leaves him staggered with pleasure. The plot thickens significantly when Gerda asks Einar to pose his slender body as a stand-in for an absent model.
But their marriage is about to produce quite a different newcomer. “I’m wondering if we made a baby last night,” Gerda says in the morning, a development Einar would seemingly welcome as thankfully as any mainstream dad to be. “For a man to submit to a woman’s gaze,” she tells a plump financier she is painting, “it’s unsettling.” Early on, there’s a suggestion that the couple’s overlapping interests inspire vigorous bedroom action off-screen. The powerhouse wife finds female figures more thrilling than males. The rather androgynous husband still has sad memories of his youth, especially the time his father punished him for a kissing session with a male schoolmate. She is the more dominant of the pair, tossing off racy pictures of attractive women.Įach painterly worldview gives us a vision of the artist’s inner being. His popular canvases are moody landscapes of the seaside where he spent his glum childhood before moving to the big city. They are artistic rivals and at times each other’s muse.
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