1992

Once again French Cinema shows its maturity. Not many countries can say the same concerning homosexuality, but the French have taken the plunge in showing just how normal same-sex is, and quite literally in this short film we follow step by step homosexual desire and fulfilment. A teenager desires a young man who works at his school, and he makes the first move which is initially rejected. I will give no spoilers but parts of the sexuality are filmed, both by the director's cameraman, but also by the youth's camera. This is not pornography, but for remembrance in the eternal hope of capturing time. This short and excellently filmed short is recalling1992. If we use our imaginations we can see an older man recalling that year with the aid of the camera, and not only from the mind which often either exaggerates the past or gives it too much significance. I read a previous review of ' initiation in dark territory '. It is not like that at all, but to me pointed to a youth who wanted to film his life and various times in the lives of those he recalls, or still knows. The scenes with his father are justly praised, but then so are the scenes with his lover whose sexuality is so potent for the youth, and is this lover bisexual or gay ? We do not really know and we do not see if it extends in time. Louis Duneton is a fine young actor, and the rest of the cast are equal to him. For me it was quite simply a short film in praise of the power of desire, and quite rightly shows almost all without a hint of reticence. It left me wanting to know more about the youth's life, but the title itself shows clearly our curiosities restrictions.

Interesting story and worthwhile short. Nicely produced and well acted.

With so many forgettable shorts out there; this one is memorable and quite good.

A gay student falls for the new teaching assistant at his school. The student, so introverted, lives life through his video camera, tapes all he can. His Dad sees all this, finally sees some of the video. left out "accidentally". Questions are answered. Changes are made. Good things happen. So much packed into this 25 minute film. I have watched it several times. Always brings the feels up strong.

Or only model for the relation father-son. a film about desire, errors, pleasure and broken of the line between teacher and student. a film who lost, scene by scene, its message. something missing and this fact transforms it in a kind of demonstration. sure, the ephebe looking for the object of desire, the initiation in dark territory, the explosion of senses in the first time for a teenager. the relation with the father as axis. but is not enough. and this does 1992 not exactly a bad film but new example of good intentions .the role of father is well crafted by Alain Belgel,Louis Duneton gives a decent Martin and Matthieu Dissertine does his the best in a role who not gives to many possibilities to develop it. sure, the portrait of the single, wise father is the only part saved from the entire film.

UNUSUAL PORTRAIT OF INTENSIVE LOVES... IN ANTIQUE TIME.

When I saw this short film for the first time, there were 2 parts that I loved, from the most incredible part and the most austere part. It is as if 2 parts were fused (or coexisted) in 1.

We have a boy fascinated by another, evidently more "mature" than him. Something not so abnormal these days for independent cinema (and Hollywood makes timid attempts to get closer) but in this short, it can be said that it does not follow any pattern.

Louis Duneton made his character unique and unrepeatable. Unfortunately, being his debut (one of the best for me, within the world of "first-time actors in those times") he fell into ostracism relatively speaking. Although he has done his things, they remain within his native France, without resonance outside of it. It's a shame because in this short we have an actor who gives a lot, a lot to achieve his character and that is to be praised.

2 parts I said before: the first is something that perhaps many filmmakers have already tackled but, here there were no excesses (although apparently there were, but experimental cinema is not for everyone, its director as a good Frenchman is clear about that) and the way he approaches this part is not as bad as some would think.

The 2nd part is an act of common sense. In capital letters. It shows how things (to a certain extent, unpredictable) reach a point of reconciliation with the 1st part. It flows like the river in an unusual way. And that is its great strength.

The title of my review is taken from the song "La Fuente" by Nino Segarra.