Mette is sixteen and driving her dad mad, partly with jealousy. Although he’d never put it like that, and maybe he doesn’t think that that’s what he feels when he finds pictures of a semi-naked Mette taken by a young man whose desires are kind of met by his daughter. Everybody here is in-between, feeling opaque; no one is innocent, even though pure and devoid of guile. Beauty and the Beast is a head-first dive into the realm of hebephilia as a study of intertwined confusions – of a daughter discovering her sexuality and of a father having to deal with the feeling of being at once too old and not old at all. The part of Mette was written especially for Line Arlien-Søborg, while the father, as Sorrow and Joy will show, is based on Malmros and his own confused feelings for Tree of Knowledge‘s grand acting revelation.