And it is foretold that marriage will squander the limitless theorizations of an inquisitive maiden (Audrey Tautou as Thérèse Desqueyroux) as she attempts to redefine herself according to her husband's (Gilles Lellouche as Bernard Desqueyroux [France's Liam Neeson?]) rigid prejudice.
His prejudice and the specific roles to which it narrow-mindedly assigns meaning to every in/tangible subject/object it wields, has not incorporated the art of bilateral communication into its privileged perspective, forcing his wife to seek alternative methods of resoundingly breaking through.
The other side can be distinguished as vital but tradition and continuity prevent him from unclenching his patriarchal grip.
Oblivious and unreceptive to the simplest of his wife's unexpected ambitions, he remains ensconced in his paradigm dans les bras de Morphée.
Interring the process of subjective decay, transferring random natural acts to a domestic realm's uncharted vicissitudes, sinisterly challenging immutable contraceptions, and suggesting that related solutions exacerbate that to which their remedy is applied, in terms of the preservation of identity, Claude Miller's Thérèse Desqueyroux nocturnally invokes fluid conjugal taxonomies as a potential interpersonal strategy applicable to estranged partnerships.
Or simply states that some people shouldn't get married.
No they should not.
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