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In short: It’s grittier, artier, sexier and finally out in select theaters this Friday.But before you get your fill of the film’s impeccable costumes, coke-fueled parties and male full-frontal, take in these five lesser-known details from the pioneering designer’s incredible, less-than-saintly life.Only when the scene cuts do we realize Mona is actually a convict serving time in prison, traveling to Paris a few days a week to work at a train station concession stand.Mona’s life is further upended by Clément (Macaigne, forever goofy), a professional movie extra and nervous wreck with whom she’s been having a platonic fling, although Clément hopes to take things a step further. There’s also a connection to [Bernardo] Bertolucci because I was in two movies about 1968.Though innately shy and soft-spoken, Saint Laurent stripped down to appear in the 1971 campaign for his first men’s fragrance, “Pour Homme.” The image not only confronted male nudity taboos but rebuffed the conventional machismo prevalent in advertising at the time.

Christophe Honoré is not only one of those people, but also finds multiple other ways of expressing his seemingly endless creativity.

Co-written with Christophe Honoré—in whose Garrel played a guy caught in a bisexual love triangle—the story offers plenty of moments for the trio to strut their stuff, with Farahani literally doing just that during a memorable dive bar performance.

An opening scene shows 30-ish beauty Mona (Farahani, excellent) showering in slow motion to the tunes of Philippe Sarde’s hardworking score.

Garrel plays Abel, who pumps gas at a service station, but fancies himself a great writer (in the making, at least), reciting extracts from his poetry to the pretty girls who stop by for a fill-up.

While plenty adorable, he’s also clearly a cad, running around with an underage girlfriend (Mahaut Adam), partying with hookers and, still, always willing to seduce whatever new conquest enters his crosshairs.

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