Sommer wie Winter...

'Presque Rien' is a beautifully observed portrait of the experiences of a young French homosexual. Eschewing both stereotypes and preaching, it's a wonderfully naturalistic film, superbly acted, shot with a feel for the seaside town where the action takes place, never melodramatic but often painfully real. If anything it's almost too realistic, as there's little in the way of conventional plot, just scenes from a life. But the absence of conventional dramatic tension counts for less than it might in a world so subtly drawn. 'Presque Rien' might not be the most exciting film ever made; but its simple humanism serves it well compared with the pre-conceived celebratory or bigoted viewpoints that often mar treatments of this theme. Worth a watch.

It gives not a story. Just sensations, emotions , drawings of states. But the atmosphere remains the lead virtue. And the performances, near cinematography are good reasons to see it. Again. A film about family and about profound loneliness. Romance, at the first sigh. But , in essence, more. A film for feel it. The nuances, the colors, the tension, the air, the flavours, the decisions, the sounds, the bitterness. And to see as familiar all. The portrait of mother by Dominique Raymond represents a real good poin. Like the performance of Jeremie Elkaim.

PRESQUE RIEN

(USA: Come Undone /UK: Almost Nothing)

Aspect ratio: 1.85:1

Sound format: Dolby Digital

While visiting his sick mother in Brittany during summer recess, a teenage boy (Jérémie Elkaïm) falls in love with a local youth (Stéphane Rideau), but their relationship falters as Elkaïm is cut adrift from all that was once familiar to him, with near-tragic consequences.

Sébastien Lifshitz's intimate drama chronicles the sexual awakening of a naive teenager over the course of an idyllic summer, recounted in piecemeal fashion as the director cuts abruptly between timeframes, from Elkaïm and Rideau's love affair to the former's subsequent hospitalization following an off-screen suicide attempt, rendered 'naturalistic' by hand-held camera-work and some improvized dialogue exchanges in key scenes. The results are confusing, to say the least: Just as the boys begin to strike out from their families and forge a life for themselves, Elkaïm slips into depression (why?) and appears to reject Rideau (why?), after which he goes looking for him again, only to find solace in unexpected quarters.

Anyone hoping for a rose-tinted love story will come away feeling more than a little disappointed, though Lifshitz refuses to compromise the sexual aspects of his own screenplay (co-written with Stéphane Bouqet): Elkaïm and Rideau are completely nude in several sequences, and there's a memorable, full-on sex session amongst the sand dunes which should satisfy all but the most ardent porn-watcher. But the boys' attachment is complicated by their relationship with their respective families, especially Elkaïm, who feels unable to declare his burgeoning sexuality because of a recent tragedy which has driven his father away and confined his mother to her sick-bed. Sad, complex and not a little frustrating, the movie works its magic in quiet ways, but it's a little too cold and dispassionate to satisfy all tastes.

Nicely produced on a modest budget, the film also stars Dominique Reymond, Marie Matheron and Laetitia Legrix as the three women in Elkaïm's life (mother, aunt and sister, respectively), along with Nils Ohlund as one of Rideau's former boyfriends, who figures heavily in the narrative's closing stages. The two leads are fine in difficult roles, and both have become iconic figures in European gay cinema: Rideau starred in such well-regarded Queer movies as WILD REEDS (1994), FULL SPEED (1996), TRANSFIXED (1997), SITCOM (1998) and THREE DANCING SLAVES (2003), while Elkaïm - who looks like a Bel Ami porn beauty - also appears in the gay-themed drama YOU'LL GET OVER IT (2002) as the love object of handsome Julien Baumgartner (SEXY BOYS). Director Lifshitz made his feature debut with the French TV production LES TERRES FROIDES (1999) following a series of short films with Queer themes, and his latest entry is WILD SIDE (2004), another perceptive exploration of omnisexual angst.

(French dialogue)

"Come Undone" appears to elicit a lot of opinions among the contributors to this forum. Granted, it's a film that promises a take on gay life, as most viewers expect and somehow, it gets away from that promise into an introspective view at a young man's soul. The film has a way of staying with us even when it has ended. It is a character study about how a young man gets involved into a love affair with someone so much different than him that, in the end, will leave Mathieu confused, hurt and depressed when things don't go according to what he hoped the relationship would be.

If you haven't seen the film, perhaps you would like to stop reading.

Sebastien Lifshitz, the director of the film, has told his story from Mathieu's viewpoint. Most viewers appear to be disoriented by the different times within the film, but there are hints that are not obvious, as one can see, in retrospect. The story is told in flashbacks that might add to the way some people will view the film. This is a story about the doomed the love Mathieu felt for Cedric and the ultimate breakdown of their life together.

First of all, Cedric, the handsome young local, pursues Mathieu until he succeeds in convincing him he likes him. Mathieu feels the attraction for Cedric too. We realize how different both young men are by the way Cedric tells Mathieu's family how he feels school is not for him. On the other hand, Mathieu, who wants to be an architect, finds beauty in the abandoned place where Cedric has taken him. We watch as Mathieu, reading from the guide book, wants Cedric's attention.

When Mathieu comes out to his mother, she wisely tells him about the importance of continuing his career. She also points out about what future both of them would have together, which proves to be true. Mathieu appears to have learned his lesson, the hard way. He goes on to an uncertain life with Cedric and attempts to take his own life. We watch him in the hospital speaking to a psychiatrist that has treated his wounded soul.

The ending might be confusing for most viewers, but there is a moment in the film when Mathieu goes to work in a bar where we see him washing glasses and looking intently to Pierre, the young man who frequents the bar. That is why when Mathieu goes looking for Pierre at his house, appears to be hard to imagine. Yet, we have seen the way Mathieu is obviously interested in Pierre. The last scene at the beach, when Pierre and Mathieu are seen strolling in the sand, has a hopeful sign that things will be better between them as they watch a young boy, apparently lost, but then realizing the father is nearby.

Jeremie Elkaim makes Mathieu one of the most complex characters in recent films. This is a young man who is hard to understand on a simple level. Mathieu has suffered a lot, first with the separation of his parents, then with his depressed mother and with losing Cedric. Stephan Rideau, who has been seen on other important French films, is equally good, as the shallow Cedric.

While "Come Undone" will divide opinions, the film deserves a viewing because of the complexity and the care Sebastien Lifshitz gives to the story.

It seems that what French cinema does best is slice of life drama. Come Undone is one such drama, yet way above the quality that we've come to expect from the genre.

Director Sebastien Lifshitz slices the narrative, then pieces it together in a way which is at first confusing but which ultimately adds much to the emotional tone of the film. The meeting and parting of two boys in their late teens is related without offering much in the way of a clear explanation as to how or why. The emphasis being on the troubled emotional journey one of them undergoes as a result of the unexpected love relationship that develops.

Besides his keen cinematic eye, Lifshitz's major success is eliciting from both Jeremie Elkaim and Stephane Rideau totally convincing performances. There's not one false note sounded. The smaller parts too are handled well.

A deeply moving, beautifully played, complex film. One that certainly warrants more than one viewing.