"Mathieu is preparing a film. He tries to explain to his wife Jeanne why he won't cast her in the woman's role even though the story in the film is their love story and he is going to play himself. Mathieu and Jeanne separate. The movie will slowly float away while the couple reinvents love. Garrel has chosen to direct an intimist story. The secrets, the whispers, the impression of participating in the family's life, give us the keys to universality. Still, Emergency Kisses is not a simple game of meta-cinema. Garrel transfers into the film the unassignable reality of love. He directs himself surrounded with his own wife, son, and father, the love- and blood-relationships transposed exactly in the film. They even constitute a bump in the film, an unspoken resistance against which, and thanks to which, events take place. Garrel's cinema moves by setting limits and assigning places." -Colette Mazabrard (condensed), Cahiers du Cinéma