Sibyl (Virginie Efira) is a psychotherapist who is drawn back to her passion for writing and decides to leave her practice. Taking on one last patient—Margot (Adele Exarchopoulos), a newcomer actress who’s caught in a torrid affair with her costar Igor (Gaspard Ulliel) and her director Mika (Sandra Huller)—Sibyl sees an opportunity to find inspiration for her latest book, but becomes dangerously overinvolved in the life of her patient, blurring the line between fiction and reality. The angsty romantic drama of the film-within-a-film conceit that occurs in the second act is where Sibyl shines, as the intertwined destructive romantic lives of the characters are forced to be replayed on camera, take after take. Director Justine Triet’s film deftly shifts between past and present, as we plunge into the depths of Sibyl’s mind, and the film’s interrogation of the creative process as a combination of personal history and the intimate sessions of her patients is a fascinating, if not quite fully actualized concept—the final act in particular leaving us to question what lessons to take away. Despite this, strong performances and the well-edited structure of Sibyl make it a worthwhile exploration of how we form the narratives we create in our lives and the fictions we tell others.