Take this Waltz

Disorientingly positioned between two socio-cultural persuasions (traditional vs. open marriage), one, familiar, cozy, predictable and solid, option 2, unknown, spicy, spontaneous and in inspirational flux, Take this Waltz's Margot (Michelle Williams) struggles to choose a specific gravitational counterpart, their contradictory forces amorously messin' with her mind.

Associated risks and issues of comfort are respectfully juxtaposed with daring intoxicating improvisational interest. 

As if a beautiful funny intelligent woman rediscovers that sensuous spark that unrecognizably redefined her as she let herself go in the arms of another, and it becomes increasingly difficult to dialectically distinguish her two suitors.

Until earthly realities draw attention to the responsibilities of the symbolic and the imaginary must be qualified by a degree of practicality. 

An escape, a happy place, something blissful, is required, where, perhaps, when emotionally tied to demanding conflicting relational engagements, one can reassert a transcendent sense of self while existentially weighing their details against their general affects, one which functions as a secret personalized counterpoint to that generated by the partner's enigmatic propulsive particle, from which balance can be dependently realized.   

Having interiorized and subjectively promulgated the gaze of her subjects of desire.

And negotiated a flexible impervious pact.