There is, however, something sinister happening on the island that’s never clearly explained, but Estelle is staying in the villa of one Dr. Wolf, a sixty-something German man who reminisces with Stefan about “the good old days” while throwing Nazi knives at a target. Estelle calls him “a friend of her father’s”, which raises even more questions.  We come to learn that Estelle has a heroin habit. Wolf is her supplier, and they incur his wrath when Estelle steals a large supply from him.

She eventually introduces Stefan to shooting up. He becomes a desperate addict, and she eventually moves on, while he is stuck on Ibiza, broke and miserable. Charlie finally makes it to the island and tries to bring Stefan back to Paris where he can help him kick the habit. He reminds Stefan that he was warned and lets him know that he is the fourth boy in the past year that Estelle has “destroyed.” Stefan is so humiliated that he drunkenly assaults his friend and ends up begging some drugs off of a fellow addict. He ODs alone in a pedestrian tunnel.

When his dead body is discovered, Charlie takes up the film’s narration. He signs for the body with the coroner and helps as Stefan is lowered into an unmarked pauper’s grave. Not exactly a fun trip, but an ironic sober recounting of a slow-motion suicide. The film does not coddle these hippie drug users, nor does it glamorize any part of the lifestyle. Fascinated with the preparations and paraphernalia, the film presents these substances that the characters consume with documentary-like attention to detail. The crumbling of buds before rolling a joint when the lovers first meet is echoed in the spoon and cotton ball that go into prepping a shot of heroin. Unlike other psychotropic films, More does not enter their subjective tripping. We do not see anything on screen that mimics being in an altered state, instead we watch, unblinking, as our protagonists make terrible choices and then face the consequences of their actions.