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In music, an intermezzo, in the most general sense, is a composition which fits between other musical or dramatic entities, such as acts of a play or movements of a larger musical work. In music history, the term has had several different usages, which fit into two general categories: the opera intermezzo and the instrumental intermezzo. The Renaissance intermezzo was also called the intermedio.

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Intermezzo, meanwhile, regards its characters’ inner lives with cursory interest as it leans in to peer at their outer assets. Even Bau, a smart, salty revelation in the first film, gets precious little to play here beyond exhaustive physical commitment: She’s little more than a case study in the director’s stubborn defense of his own gaze. That is what it is, often artfully so: Kechiche’s eye in Intermezzo, whether delicately attuned to fifty shades of sunburn or alive to the club’s light show of alcopop neons, is as keen as it is in his very best films.

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Director: Gustaf Molander. Starring: Holger Brandt, Anita Hoffman, Margit Brandt and others. This gorgeous romantic confection, which catalogs a doomed love affair between a married violin virtuoso and a young pianist, is graced by a leading performance by Ingrid Bergman (her first), in a role created especially for her; a costarring turn by the legendary Swedish actor Gösta Ekman; and beautiful direction by Gustaf Molander.