‛Absolutely brilliant!' — Guy Maddin

1968. Winnipeg Beach. Summer. Poor Jewish boy meets rich Jewish girl. The sun is high, libidos soar, even the high is high. And as the poor boy tries to marry up, the Jacob-Rachel myth gives way to an Icarian leap.

The still of a time and a social milieu so close to our own that it itches, Michael Tregebov's The Renter, the fourth entry in his comédie humaine, is a sex-fuelled tour d'échec. As Bret Yeatman envisions a way out of his pot-dealing, cottage-renting, romantically precarious life through the woman of his dreams – the political, Plato-wielding, beautiful, upper class Sandra Sugarman – will his gamble need more than a bluff?