2,5 - L'emotività non può che scivolare anch'essa nelle crepe della catatonia integrandosi con l'altolocata sterilità degli ambienti scansionati, dove Boris e Béatrice cercano di rianimare un rapporto incrinato e logoro, i cui unici "pezzi di vita" sono intrappolati nella grana analogica di frammentarie immagini-ricordo... http://visionesospesa.blogspot.it/2017/06/boris-sans-beatrice.html
I am certainly more of a fan of his hard-to-pigeonhole hybrid films, but Denis Côté's narrative features proper are also pretty delectable. Boris is yet another humble triumph. Extreme formal rigour. An always tuned-in use of the frame. There is a real askance employment of irony in a Côté, and something radical in terms of how it situates itself vis-à-vis any read you might get on its intent. Happily flummoxing.
This might be as close as Cote gets to playing straight, which might just undervalue this film's strangeness. What begins as a nihilistic affront to one man's sense of worth bizarrely becomes 'It's a wonderful life' in a spirit of empathy rarely seen nowadays. It feels like a parable, and Hyndman in particular is excellent. Not much Lavant but we take what we can get.
A delightfully creepy tone infused with wry humour and perfect casting anchor this film firmly in the 'Lost Highway' world. Boris feels warmer however and the assured storytelling highlights the director's sympathy towards man and his easy complacency. 5 stars
The unique and meticulous style of Cote is on full display with this satisfying story of pride, affluence and the questioning of 'self'. Performances are stellar especially James Hyndman whose anguish and prideful behaviour drives his character throughout. Well written with excellent production values. Bruce LaBruce makes an amusing cameo.