The film follows (Guillaume Depardieu), a privileged young novelist living in a château in Normandy with his mother, Marie (Catherine Deneuve).

Walker’s score is a wall of industrial noise, throbbing bass, and anguished, operatic screams. It sounds like a machine on fire. During the film’s most explicit scenes, Walker’s music drops into deep, metallic drones that feel physically hot to the ears. The soundtrack alone is a "hot" sensory assault.

Pierre (played by Guillaume Depardieu, son of Gérard Depardieu) is a successful, handsome young writer living a comfortable life in a French château. He is engaged to the luminous Lucie (Catherine Deneuve’s real-life daughter, Chiara Mastroianni). His life is a postcard of bourgeois happiness.

Pierre believes he must suffer to write authentically. This romantic (and ultimately destructive) view of the artist’s life is dissected harshly. The film asks: Is suffering necessary for great art? Or is that just a myth that destroys people?

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The occur here: raw, un-simulated (or nearly un-simulated) sexual encounters, sweat-soaked nights, and a love between Pierre and Isabelle that is equal parts fraternal, romantic, and destructive. It is the heat of poverty, the heat of taboo, and the heat of a man burning his life to the ground.