Quasi niente

Only after some contemplation did I decide I liked this movie. And after reading comments from all the other posters here, and thinking about it some more, I decided that I liked it tremendously. I love American films - probably because they are so narrative. They usually have a well-defined beginning, middle, and end. "Presque rien," on the other hand, makes no such attempt. I disagree with other posters that say it's 'too artsy.' In every way, this film is meant to evoke your sense memories. So often throughout the film you feel like you're there... you feel the summer sun, the breezes, the heat, the winter chill, the companionship, the loneliness, etc., etc.

In every way, the director pulls you into the lives of the characters - which is why so many people feel so strongly that the movie disappointed them. After I finished watching it, I felt the same. But upon some reflection, I recognized that this is how the movie had to be: the 'story' isn't the narrative, it's the emotions you (the viewer) feel.

The lighting, scenery, and camera angles immerse you in the scenes - they're rich, exquisite, and alive with detail and nuance. Although I normally cannot countenance films without a fully developed plot (after all, isn't a movie 'supposed' to tell a story), this film is definitely one of my new favorites.

"Presque rien," a simple story of two 19-year-old youths who meet and fall in love while both are on summer vacation, offers an affecting romance of vascillating passion.

Told by director Sebastian Lifshitz and writers Stephane Bouquet and Lifshitz through a series of vignettes--often presented in a nonsequential timeline--the unfoldment provides some work on the part of the viewer to position these disjointed fragments together.

However, the basic scenario is so simple that the unfoldment does unite in post-reflection. It is an interesting tale, made plausible by two fine performances by the leads.

Jeremie Elkaim as Matthiew evokes a slightly moody, troubled youth, longing for affection, and willing to give of himself in a new relationship. Elkaim's work beautifully conveys Matthiew's need for companionship and for escape from a staid and mundane domestic environment.

Stephane Rideau presents yet another of his remarkable performances as Cedric. Rideau immerses himself in the role so skillfully that his craft brilliance is taken for granted. As close to the late James Dean as has been seen recently, Rideau takes his place in the Alain Delon legacy as one of France's leading young actors. Rideau possesses an arresting countenance: even his pointed ears, protruding chin, an off-centered eye, and crooked lips seem to contribute to his handsomeness. His Cedric is non-intellectual, expressing primitive emotions in his approach to life; yet, his ardor for Matthiew rings undeniably genuine and true.

The rest of the cast of "Presque rien" contribute to this slice-of-life tale, and we are pleased to have an opportunity to glimpse fragments of a both playful and poignant summertime romance.

An adult, realistic, cruel, dark story, like a second part of "les roseaux savages" (the wild reeds), plenty of beauty and sadness, ellipsis and silences, shadows and little sparks of hope. a man searching for a warm companion, a better life, a sincere attitude.

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)

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.