Gitty (Brigit Minichmayr) is exuberant, speaks her mind, and works in PR for Universal Music. Chris (Lars Eidinger) is a brilliant architect whose career still hasn't took off and who expresses his feeling with less ardor than his flaming ginger-haired girlfriend.

When heading to see Maren Ande's "Everyone Else," however, the viewer must keep in mind to "never judge a movie on its apparent simple plot." "Everyone else" has indeed all the elements of another insight into the life of a modern couple and their struggle to preserve their relationship. What then makes this movie so different from others of its kind?

In a two-hours-long film, the 35-year-old writer and director Maren Ade admirably portrays the difficulty to work as a couple and incorporates poetic and grotesque scenes, without ever losing sight of reality.

Ande makes us discover the very distinct universe of these two complex characters, who share a wonderful playful world, in which Gitti's drama performances and Chris's imagination, cohabitate peacefully – at least for a time.

This delicate balance is disturbed by another couple, whose life seems to wind up perfectly. Hanz, Chris's former classmate, is a successful architect, while his pregnant wife is a well-known fashion designer. Following a dinner during which Gitti and Franz argue over the work of Chris, a different equilibrium slowly emerges and transforms the relationship of the couple.

"You are so embarrassing. Can you behave yourself and act as normal people?" This terrible line announces the second part of the movie, in which Chris entirely rejects his partner. He uses this argument to become more "masculine," a quality he feels dispossessed because of his professional frustration. Gitti desperately wants to preserve their relationship and tries her best to moderate her eccentric side.

Without identifying with the characters, we find a little of ourselves in both Chris and Gitti, as the scenario deals with issues we are all confronted to in relationships: accepting the other with his flaws, and feeling accepted ourselves. While Gitti ensures Chris that she loves him "successful, not successful," Chris later asks her (and himself): "Do you want me to say I will do anything for you? That I will love you forever?"

Further, the director questions our ability to change our nature to fit in a frame we are not designed for, but he also has a critical eye on today's German social class. This strange couple proudly stands out from "everyone else," from the "bourgeois," and yet, Chris and Getti wear masks and become the unfortunate characters of a tragedy, which the denouement is purposefully left free to interpretation. The viewer might go out with another thought in mind: "what bread in the bone will come out in the flesh?"