M/M

I get what they were trying to do, but this failed. If the actors weren't so good looking, no one would watch it to the end, and that might be a good thing.

No waste your time watching this movie. If the plot is sex go for it. The rest not worst to see.

I suspect another reviewer here is part of the cast or crew because there was nothing mesmerizing, riveting, or fascinating to see here. This was a vanity project for Drew Lint. That's the only thing that can explain this film. Even at 81 minutes, it's too long. The plot and direction is so disjointed, it's hard to know if it's intentional or just many, many continuity errors. I think the viewer is supposed to not know if you're watching reality or a dream. After awhile, it simply doesn't matter -- the dream/reality hook is used so many times, it's laughable. These characters have NO motivation for half the things they do and the ending just made me shake my head. Even the credit sequences are annoying. Watch if you want to, but I wouldn't recommend it.

Yikes, but this is all over the shop. For much of the film, I can safely say I had little, if any, idea what was going on. Who/what is real, or not? I have to say that I didn't really care after about ten minutes of this uniquely indulgent nonsense from auteur Andrew Lint. "Matthew" (Antoine Lahaie) takes a shine to cutie Nicolas Endlicher ("Matthias") at the swimming pool where he works. What follows is the dreariest of sexual cat and mouse games peppered with scenes that don't make sense; incoherent photography pretty much across the board (especially the sex) and a dialogue that is almost Neanderthal in nature. I'll admit I never do surreal particularly well, but this is really beyond the pale.

It is an experimentl movie. This is its basic virtue and sin. It propose impressions, suggestions but not exactly a story. And the warning is clear from the first scenes - the border between reality and dream did not exist. So, it can become boring or bizarre or not to expect or simple pretext for see two good looking young men or to remind slices from O Fantasma. But, in my case, it is only a beautiful film about desire, obscure links, obsessions and loneliness, about relation mother - son and about the other becoming part from yourself, about youth and sensuality, fetishes and life in poetic nuances. Nothing extraordinary but , for a part of public, I suppose, interesting, maybe seductive. For cinematography, not the last.