As the author suggests, this is a play that unfolds in a dreamlike environment. A couple of junk collectors, 75 year-old Mitsos and 74 year-old Glyca, the two main characters, eke out a living by collecting cardboard boxes and squatting in unoccupied houses. The work opens with the attempted murder of a prostitute by Mitsos' son, Argyris, an act that happens again later in the play. The couple are living in a listed building with blocked up windows. Mitsos has spent his life searching through bins, which is where he met Glyca. Argyris, who comes to visit the couple, demands to know the identity of his mother, who abandoned him in an orphanage. The conversation degenerates and Argyris attacks his father in an attempt to extract an answer. Under pressure, Mitsos tells his son that his mother lost her mind during the pregnancy and was committed to an asylum, though where exactly he does not know. The play ends with the house surrounded by the riot police, who have come to evict the two squatters.

Je t'embrasse la gueule gives the impression of a realist play which is, at best, undermined by a prevailing sense of magical realism. Still, it maintains the tangible framework of everyday experience. Each element is in a state of flux, often contradictory in movement, sacrificing any form of superficial cohesion in favour of a point-to-point expression of forces. Each event, thought, and sentence carries a latent sense of self-dissection as a driving force transplanted outside the conventional sense of structure. This creates a floating mass that develops through levity, despite the weight of the subject matter. The whole texture is underpinned by great plasticity, which in a stage performance enables infinite angles, even though the play is elusive in terms of its innocence bordering on naivety with a real popular complexion. The real issue is so well hidden that it is hard to make out any archetypal questioning on the part of characters that constitute a single family unit that hides a highly complex stratigraphy.

The same applies to the language employed, often comprising elements that would not be found together in common expression. This creates deep cracks in the speech that lead to continual restructuring of the wording, alternating between sense and nonsense. The overall balance is fragile, particularly in terms of translation, whose role is to form a link between reason and insanity, visible and invisible, real and unreal, lending depth to the concept of expressible and inexpressible.

The words, characters and set hang in a void, finding a position of stability as best they can to form lines of expression and existence where solid and void appear successively in the violence and tenderness of their relationships through uninterrupted expression, carrying the simultaneous sound of each element.