Wilde Nächte

...but pictures a completely different perspective on HIV and AIDS. No supportive family here. No struggle with society for it to acknowledge on our humanity, regardless of sexual preference or health status. This picture is an invaluable reference for all those trying to understand terminal disease -AIDS in particular- or in the process of facing death. Just seems important to mention that Collard's actual treatments were filmed and included on the final cut. The bouncing around of high-low's, from absolute certainty of overcoming the disease to deep depression and sending everything -love included- straight to hell. But also the dangerous and sometimes silly sense of humor with which the director plays his role, is what makes this movie invaluable to me. To my knowledge this is the first film in which HIV positive blood is used as a defensive weapon, and saves the life of two of the characters. I sincerely hope that there is some form of afterlife, and that they have cable. Collard deserves to know he was, is, deeply appreciated, as so many others who where "cheated" out of time, to see their work achieve recognition. One is what one does, they say.

This film somehow seems like an observational documentary, a whirlwind trip inside somebody's life and mind, with all of the turbulence and contradiction that our lives often have. I've seen this film described as hysterical. Perhaps some lives do function on a more fraught emotional plane than others and that rollercoaster ride ascends to great pleasures as well as sinking toward the inevitable depths that tangibly fierce existences must face.

What a talent Collard was. Perhaps this would have been his finest moment had he lived. Somehow I feel that his consumate talent was just flowering when his body finally succumbed to his illness. Technically it is competent rather than outstanding, yet there are some scenes that have been arranged beautifully. However, the true magic in this film lies in its restricted narrative. All emotions are allowed to express themselves freely. The shots are relentless in their gaze. Collard's character makes the choice to live and to love, within the context of what life has in store for him. Where some cinema pontificates and emotionally rapes the audience, this film priviliges the viewer. We see non-hegemonic cinematic bravery and an engagement with freedom, and how that leaves one raw and damaged. Yet each day alive is a gift. We are fortunate indeed to share Collard's gift within this film and I urge those who have not seen it to do so.

For a movie about how AIDS affects a person, his behavior, and the compounded effects on those around him, one might expect the film to play the emotions of the viewer in an obvious way. However I must say I was engrossed from the beginning to shortly before the end by the film, never having the opportunity to distance myself and view the scene or action as a critic, dissecting what the director's intent was. I was very pleased.

The first serious movie to deal with HIV, "Les nuits fauves" felt like a Joe Frazier hook when it came out in 1992. Gone are all the pitiful sentimental demonstrations of future films like "Philadelphia" . In fact, AIDS is merely the backdrop of the film. Cyril Collard never asks for pity. The movie is both a confession and an hymn to life. It doesn't try to moralize the audience, although some spectators were concerned about the "message" such a film might send. You have to remember that the events described in LNF take place in 1986, when the concept of HIV and AIDS were still abstract and to be defined. Collard himself said in a 1992 interview that the irresponsability of his character, Jean, having unprotected sex although aware he is infected, would be rightly considered criminal by now. The virus serves as a driving force for a main character that is learning to love, opening himself to others, to the world. But to reach the light, you must first go through the darkness and the task is not an easy one to witness. LNF demands a lot on the viewer, asking him to let go of his preconceive ideas and ideals. Very much influenced by his mentor Maurice Pialat, Collard makes a daring film, one which you could never imagine coming from the all too clean world of Hollywood film making. Here, energy comes first, technical aspects of movie making later. Therefore life, real life, shines through. "Les nuits fauves" is a force to be reckon with. An unsettling experience I will never forget.

Many films are described as "true life dramas". but this is the one if ever there was one. The central character Jean (Cyril Collard) a hedonistic young film producer who engages in sex with both men and women mirrors the real life story of Cyril Collard who was suffering from the AIDS virus during the making of this film and succumbed to it when the film was finished. This is a great shame because obviously Cyril Collard has lots of talent both as actor and producer, and had he lived we could have enjoyed a whole lot of top quality films. This film starts on a quiet note but gathers strength after Jean reveals he is suffering from AIDS. His girl friend Laura is shocked at the revelation as they had been engaged in unprotected sex. Wild scenes of erratic and uncontrolled behaviour indicate the frustrations of the couple. His outburst "I don't want to die!" is a high point and her constant appeal to him to give up his male contacts bears little fruit. "Help me to leave you!" is her pathetic cry. Cyril Collard has a great charm and infectious smile which he uses to advantage in his characterisation of Jean. It is a powerful drama with a constant feeling of desperation as we the viewers anticipate the fatal outcome. Not a film to cheer you up after a hard day, but it has a frightening authenticity about it which compels you to watch it to the end. The film clearly makes the point that we have a responsibility re the health of others beyond our own self satisfaction.