Long-time friends Francis and Marie get carried away in a sentimental rivalry over orientation-ambiguous Nicolas, each thinking their new love interest reciprocates the attraction. Trouble ensues when the BFFs start to undercut each other’s machinations. (Watch for a fun oedipal nod from Anne Dorval playing Nicolas’s mom). The main story is intercut with fictional, talking head interviews with extra-diegetic characters who add humour and commentary to the tight triangular narrative. Wunderkind Dolan’s second feature is saturated with colour and his signature pitch-perfect soundtracks – the English title is taken from Swedish art-pop band The Knife’s single “Heartbearts” – make up for what might otherwise be an overly simplistic plot-line. Nonetheless, the vérité style and slick aesthetics – references to Cocteau, Godard, and Wong Kat Wai blend beautifully with the soundtrack – the coup de grâce for queer eyes was the homage to Visconti’s Death in Venice accomplished by actor Niels Schneider’s striking resemblance to Tadzio (Björn Johan Andrésen) and the destructing longing that tears Francis and Marie apart.