Suddenly blocked in the composing of his latest play, writer Auguste (Pascal Greggory, PAULINE AT THE BEACH) invites his producer Stéphane (Louis-Do de Lencquesaing, POLISSE) along with actor Théo (Louis Garrel, REGULAR LOVERS) and star/ex-wife Harriet (Julie Depardieu, A VERY LONG ENGAGEMENT) to a working lunch. Always a source of inspiration and sexual frustration, Harriet incurs Auguste's jealousy and resentment when he intuits a romantic relationship between Harriet and Théo which leads to resentment that she is trying to impose her lover into his life as his character surrogate in the play. While trying to undermine Théo in the eyes of Harriet and unnerve him as an actor, Auguste also tries to make Harriet jealous by voicing his romantic interest in his student secretary Fanny (Agathe Bonitzer, THE NUN) and the suggestion that she would be more suitable to the lead female role in the play than Harriet. He suggests that Harriet take Fanny under her wing to take over the role in the touring version of the play after the premiere. Rather than being jealous or insulted, Harriet sees the idea as a way of both freeing herself from Auguste while also manipulating him into creating more good roles for herself, Théo, and Agathe. Although Agathe insists that her interest in Auguste is purely intellectual, the sweet-talking manipulations of Auguste and Harriet tap into both her suppressed acting ambitions as well as her feelings of being desirable. As Auguste starts to entertain the idea of a threesome (either physical or spiritual) with the two women, he doubles down on his veiled attacks on Théo until jealousy and resentment spills over into violence. An intriguing idea and meditation on how the creative process sometimes becomes entangled with physical and emotional desire, the farcical qualities THREE-WAY WEDDING are severely undermined by the handling by Jacques Doillon - father of actress Lou Doillon with actress Jane Birkin - whose popularity as a filmmaker is bewildering. A sort of chauvinist Jacques Rivette or Eric Rohmer, Doillon's scenario shares with his more recent biopic RODIN a world in which young women fall head-over-heels with moody, introspective older men who wax philosophically in monologues as if they are not in the room and whose own contributions are not so much counterpoint but an affirmation of their ideas. It is perhaps suited here in that Auguste is a writer that scenes between Harriet and Fanny play not as if they are individuals apart from him so much as his own characters; but that does not make it any less tiresome. Greggory and Depardieu seem able to invest their characters with humor and brightness while a sleepwalking Garrel and blank Bonitzer - daughter of writer Pascal Bonitzer (LA BELLE NOISEUSE) and director Sophie Fillières (IF YOU DON'T, I WILL) - seem undermined by the script (Lencquesaing acquits himself well as an amused audience to the goings-on around him while withholding information gleaned from each character from the others).