This second part is a little more episodic, played more for comedy, and contains some flashy experimental camera work. The main interest is again Xavier, who not only has trouble finding a permanent job but has temporarily shelved his plans to write a novel for more pragmatic writing – such as being ghost writer for celebrities, and in addition he's found work writing the screenplays of a slushy TV mini-series. At thirty he still has no steady girlfriend, only a succession of brief flings (including with model Celia Shelburn, who's biography he's helped her with), but then a stable love life demands a stable personality, and he doesn't seem to have one yet.
Xavier still sees (even sleeps with) his ex, Martine, who is now a single mother; and he also sees a great deal of his lesbian friend Isabelle (cue for transvestite humour, etc). In London he runs into William, who's wildly in love with Natacha, has learned Russian, and is going to be married there shortly. Oh, and he also comes to meet William's sister Wendy again, kicks out her abusive boyfriend and, well, takes his place.
All the group meet up at Natasha's parents in Saint Petersburg: cue for local colour, dancing, drinking, use of various languages, etc. But then Celia, who's in Moscow for a few days, calls him up and asks him to join her. As he's taking the train Wendy – who's seen through his lie and knows he's meeting Celia – tells him he's the love of her life. But he still takes the train, realises Celia's as childish as him, but it seems too late and Wendy feels she can no longer trust him.
But then the wedding – slowly – eases them back together. And that's how they'll have to take it: easily.
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