Three Lives and Only One Death

The film unfolds primarily in Paris, with the Sorbonne serving as a recurring intellectual hub. The city provides the backdrop for interconnected vignettes that blend ordinary urban spaces, cafés, graveyards, domestic interiors, with surreal locations like a time-eating fairy apartment.

The story is set in the late 20th century within contemporary Paris. While the city feels modern with its academic and nightlife scenes, time itself behaves elastically, years can vanish or reappear through fantastical events, creating a timeless quality within a modern urban milieu.

Mastroianni portrays several distinct characters, including Matteo Strano, Georges Vickers, Luc Allamand, and the Butler, each representing different facets of identity. This deliberate casting choice reinforces the film's central theme that identity is a mutable mask, not a fixed essence. His different roles across the vignettes literally embody the blurring between self and performance.

The Sorbonne functions as the intellectual anchor of the film, representing academic life and rational thought. It houses Professor Georges Vickers, who teaches Negative Anthropology before his dramatic fall into beggary. This institution contrasts with the magical realism occurring around it, emphasizing the film's tension between logic and the supernatural.

The film centers on four interconnected themes: Time, where years become consumable and life shifts between moments; Identity, as characters adopt alternate selves across narratives; Fortune, where gifts and bargains empower yet corrupt relationships; and Convergence, where the four stories loop back into one another until all identities collide.

Time functions as a literal consumable resource in this film. Fairies devour years, and characters experience temporal leaps where years vanish or resurface. The same actor playing multiple roles underscores time as fluid rather than fixed. This creates a tapestry of shifting moments that shape memory, happiness, and loss throughout the interconnected tales.

The four tales gradually converge through shared characters, gifts, and unexpected encounters. Lives loop back into one another, characters from one story appear in another, and bargains made in early vignettes echo in later ones. The finale brings all identities into collision, revealing how each oddity impacts the others and demonstrating that truth and illusion are inseparable.

The movie presents identity as a mutable mask that characters wear across different tales. Characters shift between roles, names, and even genders through figures like Tanya who leads a double life as both businesswoman and former lover. The film challenges the notion of a singular, stable self, instead presenting identity as performance and transformation.

The central figures include Marcello Mastroianni's various incarnations, a wanderer who entangles others in fateful bargains, a professor reduced to beggary, and a businessman whose invented women destabilize his world. Key female figures include Tanya, a powerful enigmatic figure with a double life, and Cecile, a young Parisian woman whose romantic choices drive cross-story connections. The psychologist Luca Agusta provides a philosophical counterpoint to the magical events.

Magical realism permeates the film through elements like a time-eating fairy apartment that literally consumes years, mysterious stipends that appear without explanation, and the blurring of reality and fantasy throughout. The whimsical tone prevents overwhelming darkness while maintaining a melancholy undercurrent. These surreal elements exist alongside ordinary Parisian life, creating a world where the impossible feels natural.

The film balances whimsy with melancholy. While scenarios are bizarre and unsettling, like time-eating fairies and mysterious abductions, they're presented with a playful, almost comedic touch. However, a persistent undercurrent of loss and fractured identity keeps the tone from being purely light. The pacing varies between slow, reflective storytelling and fast, intense identity collisions in the finale.

The title refers to the four interwoven narratives that eventually converge. Multiple characters across different stories share lives and identities, particularly through Marcello Mastroianni's various roles, suggesting shared or overlapping existences. The 'one death' points to the violent collision of identities in the finale, where the competing selves ultimately confront a singular, ambiguous ending.