Formally fascinating and sexually frank, the audacious latest from director Robin Campillo takes us to the edge of discomfort as it presents a middle-aged Frenchman’s entanglement with a group of young Eastern European hustlers — and gives way to a love story with a conscience.
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This movie is longer than 2 hours, but you don't notice for the time to pass. It starts as a psychological experience (what would you do in Daniel's shoes if you set your own house robbery?), then things calm down as Daniel and Marek know each other in a very tender way, and the rollercoaster of emotions comes again for the final apogee. If more people saw this movie, prostitution ratings would definitely come down.
The opening sequence at the train station, by itself, would guarantee the interest of this film: a close reading of a space(s) and its sounds, a real place that will come fictional by découpage. Becoming is an important factor of the fiction and the film, in the fourth chapter, at the immigrants hotel,finds the excellence of its beginning. The boy who plays the young Ukrainian is of a Bressonian correctness.
I very much enjoyed this edgy mixture of thriller, gay romance and sociopolitical criticism. This man and these boys (specially Boss and Marek/Rouslan) are very magnetic and the mood is very tense right from the start. That was, hands down, the best robbery scene ever!
It starts with a slow action but throughout the film we get the idea of it: illegal emigration, solitude and romance through the vision of a rich French man and a Eastern boy looking for money and papers. It has the best house robbery scene ever.
Film d'image-cristal le personnage semble être autant la victime de ses démons que l'acteur de sa résignation. Apologie du silence.
Le film vacille entre univers mental et réalité sociale désastreuse, dans une volonté globale de dépossession et de romanesque.
Ce qu'il y a de pire dans ce film ne sont pas les personnages, mais le fait qu'ils existent pour de vrai.
Strong performances anchor an unusual story arc. "The opening shots of the teeming Gare du Nord set the tone of a movie that is a Darwinian social mosaic examined without cynicism." - Stephen Holden, NYTimes