The visual ploy in the first part of the film is sensational: the apartment building is a dollhouse with the front walls removed. It creates a kind of split-screen displaying four flats (plus the centre stairwell) to be explored for connections. But the film’s second part is even more disconcerting. Based on a doctor’s recommendation, good Cornelius happily sends his wife to a thermal baths in the hopes of curing what he presumes to be her infertility problem. Coincidentally, the doctor happens to be in the vicinity, and the two-timed husband ends up with offspring (not his own) in his arms. Here Frusta builds the story around a very mischievous visual metaphor: a pitcher that appears and disappears several times: empty and ready to be filled, overflowing with gushing liquid.