The story centers on Marie (Anouk Grinberg), a prostitute in Lyon who genuinely loves her work. One cold night, she finds Jeannot (Gérard Lanvin), a homeless man sleeping in her building’s foyer. In an impulsive act of radical kindness—or perhaps existential boredom—she feeds him, offers him her bed, and eventually, her heart.

Marie is initially independent and happy, making her sudden submission to Jeannot baffling to many viewers. However, some critics suggest her actions are a "lurching stab at love" in a futile attempt to find meaning in an empty world.

The narrative takes a sharp, surreal turn when Marie encourages Jeannot to become her pimp, handing over her earnings in a desperate bid to create a "normal" domestic life. The relationship quickly devolves as Jeannot, restless and self-centered, uses Marie's money to seduce a manicurist named Sanguine (Valeria Bruni Tedeschi) and pressures her into the same trade. Deep Themes: Power, Gender, and Absurdity

My Man is a "strange brew" that oscillates between "fits of laughter and embarrassment". It is not a film for the prudish, nor for those seeking a straightforward narrative. Instead, it is a slickly crafted psychodrama that forces us to look at the "secrecy of the heart" through a lens that is both black and pink, brutal and tender. My Man (1996)

Bertrand Blier’s My Man ( Mon Homme ) is a film that refuses to be ignored, even three decades after its release. A polarizing staple of 90s French cinema, it is often described as an "artsy, fatalistic drama" that operates in a style where "the ecstasy is in the agony". Whether you view it as a surreal masterpiece or a problematic relic, there is no denying the raw, uncomfortable power it exerts over its audience. The Premise: A Collision of Worlds

At its core, My Man is an investigation into the "war of the sexes". Blier, known for his "absurdist and provocative" style, uses the film to explore: