The orgy was rather long and was filmed very sentimentally. When the two guys go out of the club, the fear of AIDS changes everything. Syrian student and the elderly lady at metro has nothing to do with the plot. The actor playing Hugo was good, but his partner was not convincing in his role.
A red-lit-18-minute gay orgy with French kisses and explicit fellatios is a bold if not controversial beginning that turns very quickly into an unfocused and meandering plot you can’t really care about. A few surprisingly tender moments and a lyrical ending may save this film for some but not many. Nonetheless it's a good litmus test for closeted homophobes.
Back justification on Orpheus myth appart, it provides some intellectual satisfaction in the form, the rest is rather disappointing ( and it comes from me liking two of the other films of the pair). Dialogues are cringeworthily, Syrian interlude out of place. I should enjoy the exploration of places I know, the issue of not getting stuck in the past and looking at building future in the now, yet it falls flat for me.
The beginning scene is quite beautiful in it's glaring red, real time following of the one-sided attraction that is happening in this small room. Cruising hasn't looked this seedy since early gay porn where dramatic effects such as smoke and colorful lighting reveal the erect penis of your dreams. Too bad it couldn't keep the magic going.
l'un des pires films français jamais réalisé. scène d'introduction interminable qui ne mène nul part, comme chacun des plans qui constituent le film, en passant. tout est ennui, ringard, interprété avec mauvais goût. amalgame entre un commercial pour la prévention et un film art et essai complètement brouillon. les acteurs sont agaçants. l'histoire n'a aucune direction. parti avant la fin, à bout de force. au secours
The 18-minute sex club scene actually makes perfect sense, I'll tell you that. This movie touches some pretty taboo subject matter, and does it so gracefully. Too bad the dialogues and reactions sound a bit off sometimes. I mean, Théo mostly acts too chill given the situation. Maybe it's a French thing.
It seems to me that Demy's failed version of Orpheus myth (in "Parking"), here finds the most complete and unexpected use of its filmic possibilities. Complete because to the various infernos that the lovers are going through, in refusing to look back, they move towards the imponderable beauty of diegesis. Unexpected because these two filmmakers had never showed such formal mastery before, mainly in the 1st act ...