Disco Boy

Quite a beautiful and sad tale, but beautifully told without hefty dialogue.

What costs, what risks is Alexei willing to take to become a French citizen? And what costs, what risks is Jomo pushed to take to save his village? Are these men a reflection of each other, a manifestation the same human spirit? Udoka, the mystical and spiritual dancer of the tribe is the thread that weaves them together.

A strong focus on the characters' experience and struggles draws you in to the story. The acting is excellent, faces and expressions telling the narrative here. The imagery further supports the characters outlook and experiences through the film. The visual effects (such as a fight scene through IR goggles) convey the gravity of strong scenes without being gory or graphic, as well as relaying beautiful artefacts of nature as though painted with neon lights. They are excellently employed to highlight a tale about a technological society up against humanity's reliance on the natural realm. This is where Vitalic's soundtrack really comes into its own - utterly technological and synthetic, yet soulful, human and sympathetic. The soundtrack is exhilarating and at times crushing, but really well woven into the stories.

A wonderful and beautifully crafted film.

A local militia against the big oil corporations and corrupt authority; a migrant from Belarus seeking to become a french by serving in the infamous French foreign region. Just from the setting, the film could have turned out to be an intense drama - a criticism on imperialism and exploitation, or deep psychological drama of moral conflicts. But 'Disco Boy' uses such subject matters as the ground to create a (rather moody) mood piece than actually getting into the drama.

The film carefully veers around what could easily have been violent and shocking - the death of a friend, training process of the Foreign Region, a village burnt down... -, and chooses to only hint them through more artistic compositions and camera techniques (the fight scene between 2 protagonists entirely shown as the first person view through Alex's thermal scope vision being the most clear example).

The overall result is artistically impressive and hauntingly moody... but also vague and pretentious. The story of 2 men, who had to play tough and do things against their nature just to survive in the world, only to be ultimately consumed by the ruthless system... could have been more gripping and gritty. But they become more like characters in a fable or rather fantastical tale in this film. To me, it feels like they are further exploited, this time by the artistic ambition of the director.

If you're expecting some Bee Gees or Donna Summer here, then you're going to be disappointed. Indeed there's precious little disco at all in this story of "Alex" (Franz Rogowski). He and his friend "Mikhail" (Michal Balicki) have a cunning plan to get from their home in Belarus to Poland and then on to France where they may eventually gain citizenship by joining the Foreign Legion. That doesn't quite go to plan, but eventually he finds himself at boot camp and destined for a mission to Niger. It's there that the local "MEND" militia are demanding an end to the cavalier exploitation of the delta by oil companies leaving a trail of death, destruction and pollution behind them. A violent encounter with local leader "Jomo" (Morr Ndiaye) in a river ends up having quite a profound effect on our soldier, one which he must come to terms with when he returns to Paris and meets the enigmatic dancer "Udoka" (Laetitia Ky) - who would appear to be as connected with his recent past as with his present. The story itself is but an incomplete section of his life, it's the photography that makes this more interesting. The use of night-vision imagery, especially in the jungle, works well as does the presentation of the environmental carnage being left behind - oil leaking everywhere, discarded or bombed out pipelines. That sense of the invasive nature of industrial development is quite cleverly carried onwards as "Alex" and his colleagues themselves have little investment in anything but survival. There's not a great deal of dialogue - wanted or needed, and this is the sort of part Rogowski does well - he's neither here nor not a lot of the time. It has a slightly surreal look to it, and though maybe it does meander a little - it certainly does repeat itself now and again - it's still quite a compelling mix of the political and the emotional, and is worth a watch.

This multi-layered film depicts an internal journey that starts when two reckless guys from Belarus enter Poland with a three-day visa hoping for a life of a dream in France, where everyone drinks Bordeaux and eats Camembert. The journey changes its purpose and destination as the main character matures and experiences things one can never forget. His thoughts and dreams are hallucinating with memories and regrets, and by the end of the journey he will become someone else.

Throughout the film, we see a lot of injustice, violence, death and danger, as well as Alex and Jomo, the two main characters (or are they one?), with their two eyes: one black - for the real, the other one light - for the illusion.

PS: remarkable OST from Vitalic.

Living true to its title, Disco Boy delivers a psychedelic spectacle for both eyes and ears, though, they're not enough to make this a remarkable movie. Luckily, the story lives up to the high bars and questions the structure of the modern world as we know it.

The movie follows two main characters-Aleksei and Jomo-with the primary focus being on the former. They were raised and live in vastly different parts of the world. Aleksei is Belarusian and escapes to French Foreign Legion. Jomo tries to defend the Niger Delta from foreign greedy companies which threaten his village and family.

Despite being so further apart, the characters couldn't be more similar on the inside. They are both victims of the cruelty of today's world, having gone through tough times, with little to no perspectives for a better future. But they don't give up and keep doing what they can to make improvements-Aleksei for himself, Jomo for the people around him, including his sister Udoka, who later on serves as a symbolic connection between the two main characters.

Their worlds eventually clash with each other, and the outcome is somewhat expected. However, as it's painted with neon colors and accompanied by a techno-like soundtrack, the experience is exhilarating and capturing.

There are moments where the camera is showing the picture through a night vision, underlining the dramaturgy and weight of certain decisions and scenes, possibly trying to show people in their true colors. In other moments, characters are questioning their own existence and everything around them, luring the viewers to do the same. But, heavy techno music makes you feel out of touch, similar to people currently on the screen.

Art cinema often likes to pose a lot of meaningful questions while making it not so easy to find answers for them. Director Giacomo Abbruzzese does the same thing, though, this time the movie isn't too bleak or slow to understand. It's quite the opposite, actually. Disco Boy sucks you in, offering you many intriguing layers, which mixed with Franz Rogowski's hypnotizing delivery of Alex, create a ride with no brakes.

No movie is flawless, and Disco Boy isn't an exception. Sometimes the movie feels dragged and repetitive, with some themes going in circles. Certain plots feel a bit missed as if they were added with no clear beginning and finish.

These flaws made me view the movie as rather insignificant, going over issues that were already depicted in cinema many times. Yet, the more time passes since I saw it, the more I think about it and grow to appreciate it. In my eyes, that's one of the greatest things about cinema-sticking to you like glue.