At the moment of contact – particularly holding hands – Moreau engages, has a moment of realization, resists and then, to some extent, acquiesces. Yet the scenes, while both so vividly physical, are radically different in tone and narrative meaning. This difference begins with the decisions Moreau makes before the scene – the germinal “thought (that) goes forward in advance” – and is carried forward by actions made possible by a commitment to functioning in the present moment, the moment of performance. The emotions expressed here by an intense physical presence are conveyed subtly, but in such constant abundance, that his acting appears profoundly fluid. It is perhaps for this reason, in part, that Moreau's portraits of female love are so consistently associated, in these films and others, with flooding, fluidity, fluidity.