Estate '85

Normandy, 1985. Alexis and David begin an unlikely friendship after an incident at sea. The story telling is interesting, François Ozon style, the typical plot to appeal for feelings and emotions, but that sometimes (as is the case in this film) falls too much into the melodramatic. There's nothing mind blowing, or double-sided characters, it is a simple summer love story, where there's a side of innocence and illusion about the first love to contrast with a rebellious and non-conformist side, of fleeting relationships. The aesthetics and sonority perfectly captures the 80's vibe, in a fantastic 16mm film. Those who liked 'Call Me by Your Name' will certainly like 'Été 85', given the similarities and inspirations that the director sought after Luca Guadagnino's great success. The protagonists have talent, and above all, chemistry, essential for a film of this kind to work. It's a nice way to end the (strange) summer of 2020.

Such a pity this movie is released during corona. Été 85 deserves worldwide recognition and rewards like Call Me By Your Name. It is said director Francois Ozon was inspired by this movie to make his own version, set in 1985, when he turned 18 in France.

This movie is typically Ozon, he's a master in story telling, stirs up our emotions, appeals to our hormones. The cast is wonderful. The male lead (Alex) is a brooding 16 year old student, who goes down the rabbit hole in his passion for his flamboyant lover (David) an 18 year old unstable character who lost his father a year ago.

Almost from the start we know their love is doomed, but the story unfolds like a sweet gay summer romance. We watch the boys sailing, dancing, driving to the sea, watching the sunset, exchanging sloppy kisses, making out at every opportunity. All scenes are filmed in 16 mm tinted in light colors to remind us of the eighties.

The boys fling lasts only 6 weeks, but makes a life long impression on Alex with life lessons about seduction, passion, jealousy and death. Later on he asks himself questions about real love, and the ideal of love, two different things, like we all know, but difficult to discern when you're intensely in love for the very first time.

All in all I loved this sexy, nostalgic Gloom & Doom boys love that seems fitting for the eighties. Go watch it.

I have never read or heard of the book this was based on so I didn't really no what to expect.

I was really impressed. Especially with the romance aspect of this movie. It was really whirlwind-y and you felt wrapped up in it and along for the ride with the characters. I think this was in part to the actors. They were fantastic and really emotive.

I think the film lets its self down right at the start by showing a flash forward. I really hate this troupe in movies and I think it undercuts the story. You are waiting for the penny to drop. I get that this can add tension and a sombreness to the movie but I think that I would have been much more invested if I didn't know what was going to happen.

It didn't ruin the movie for me because like I said the romance is done so well and the costuming and filmmaking are incredible. It really feels like an 80's movie.

Thanks to Ozon for making something that leaves typical McHollywood LA tropes in the dirt. Most gay films pals in comparison. Why? A story, well written story, dedicate visionaries, and actors. This is what cereative cinema is all about. Sure, we've seen the summer romances, and this film certainly does not do anything new in that respect - however that is the point, The skill to present this as an acceptable love affair, with a good twist, is why it's stronger than most. Summer of 85 brings in everything but the kitchen sink from literate queerdom: young romance, Verlaine, Rimbaud, eager French-isms in tragedy, and steamy sensuality. But it's also what Ozon left out: tired politics, rah-rah Pink parade tropes, and endless rants on victimhood. These are boys, who fell in love, and there's a reasonably believable story about them - apparently rooted in a real life saga of a similar situation, found in British newspapers decades ago. My only criticism is, the film could have used a deeper delve into New Romanticism of the 80s - if you're going to do The Cure - go deeper. Rimbaud was a very bad boy, Alex is not 'bad' he's consumed with passion. Slightly more stylized and slightly less topical. That said, this movie is a great watch, I'll see it in cinema post-covid, and highly recommend. Thank God someone is making things like this! "Never run with the masses, there's danger in numbers" - Quentin Crisp

The boys meet while separately out boating and sixteen year old Alexis falls in love immediately with eighteen year old David. We know from the start that the relationship is doomed but we obviously don't know how and why. Hints and fragments emerge from the text - and it is a text. Alex is writing the events of the six week romance as a way of explaining his criminal actions to a social worker.

The running length of the film whirls past just as the summer romance between the lads does. During the affair, things are revealed that start to show that all is not well - David goes back to the drunk guy they rescued, he hints at a deeper relationship with the literature teacher, mum is clearly worried about him and asks his younger friend to keep an eye on him, it turns out the boat was not dealt with.

Alex is blind to it all and is blissfully happy in his first proper love affair. They do things young besotted teenagers do - drink, go to fairgrounds, have punch ups with rival guys, drive dangerously on the Suzuki. They exchange kisses and embraces and make love while David's mum is doped up on sleeping pills.

It all comes crashing down and when it does, the events take a gruesome and tragic turn of events. Alex is in trouble. He had made David a promise he thought he would not have to keep either at all or for many years but is now obliged to carry it out. On the way to this, he's helped by his English acquaintance who offers the apercu that he was in love with an idea and not the person. It's the definition of puppy love.

Frantic typing feverishly results in clarity both for David and the court and his story ends as far as the film is concerned but carries on beyond its ending with another boat ride; our imaginations can envisage the course of his life now that he's learnt a lesson and is a bit wiser to the ways of the world.

As always, Ozon's storytelling is masterful as is the cinematography. The choice of music was perfect. "In between days" by The Cure framed the film and I can't imagine anything more apt especially once the film was complete.

The two leads played their parts fantastically. The supporting cast were not fleshed out but didn't need to be. Their characters were recognisable cliches that could be found in a French provincial town nearly forty years ago and simply drove the plot along.

I do recommend this film.