F. é um Porco

Outstanding acting, great casting, and really tight direction work together to make an unsparingly tragic plot both utterly believable and inexplicably hopeful.

Dark, sexy and very disturbing, the film's central theme is of love: though it is used, abused, warped and betrayed, it retains a strange and constant purity throughout, even up to the central character's almost shocking conclusion at the end. There is no question of bestowing any redemptive power on love, since this is a film of unflinching reality, but love's ability to provide sense to an existence otherwise bereft of meaning is shown to the full. There are few films that try to do this. Even fewer succeed, but this is one of them.

An addicted relationship between a minor and a adult is still a controversial topic, and, from time to time, I am intrigued to see how such a "liaison" is depicted. As F. est un salaud includes a gay theme as well, there are "mandatory" topics of prostitution, mental issues and drugs, visible through a 25-y.o. and a 15-y.o. males, while the latter is performed by a 20-y.o. actor not looking younger... There are some brave scenes and good camera-work, but the film is primarily a record of young affection and obedience rather than a versatile depiction of characters evolving. Moreover, it leaves some issues unclear as well: was gay life in the 1970ies Switzerland really as open and easy? What about Beni's family when he began to live with Fögi? The ending was also hasty and without any surprise.

As I was referred to this film from a film I really liked I had apparently higher hopes, but I have to recognise that F. est un salaud did not fully conform to my type of nature and values. But those fond of unconditional love and artistic lifestyle might squeeze more out of it.

Mandragora meets Switzerland. Amazing detail. Beautifully shot. Extremely complex sequences. Beautiful dialogues. Mesemrising moments. Truthful, yet incredibly depressing. That's what I'd add in a nutshell if you want to dig into this film's nightmares.

Beni's nightmare, that's it. We, who have seen this film, agree that it's a difficult and painful way to go to the end.

Despite its very Swiss environment, it's a film that would fit any time slot since the sixties. Strong and bitter. Sweet and hopeless. Definitely not an American film. Good actors, good script and a good director... all these factors make of F... one of those rare modern films that have it all.

Clearly, French input is all over this movie, and that's always a plus.

The music is another point to look for. Original music not to be found anywhere; a couple of Lou Reed's good songs and a heartbreaking end with Patti Smith's "Wings". Forget about the gay themed thing, this is a film to make you think, seriously!

I doubt anyone would endure just walking out as the credits roll.

This gay-friendly Swiss French film about a drugged-out punk singer who has an obsessive, dysfunctional affair with a 15-year-old boy groupie pushes the edge of the permissible and the believable and does not go anywhere but downhill, though it isn't without a certain sweetness. Deserves a tiny but special spot in the roster of drug and music films somewhere is a remote branch off from Velvet Goldmine and Sid and Nancy. More than that, it is courageous and tasteful in its straightforward and sexy treatment of man-boy love, and one can well understand that some viewers find it very special. Both of the principals are attractive, and Fögi may be a bastard, but he has a lot of charm as well.

Judging by the few IMDb votes this film has, and the fact that it's seven years old, it appears that this one escaped the consciousness of even the gay audience, which is a shame, because it's actually very good. Its emotional detail is just about note for note on target. I'd put it in the same class with "Edge of Seventeen," a deceptively simple movie with the same kind of quiet, intelligent emotional resonance. (I'm looking forward to see if I can get some of Gisler's other movies, which looks like it may be a task.)

The film starts, "Sunset Boulevard"-style, with a tragedy, but luckily the film proper is fully fleshed-out -- it doesn't feel like an afterthought; it's more like the framing device used is a nice little stylistic device. It doesn't need to be there, but it doesn't detract, either. I felt while watching it that the film would make a very good book -- and it was based on one, apparently. But because this is a film, and a fairly small-budget one at that, it focuses primarily on the intimate, and that's what makes it such a consistent pleasure. The intimacy is quite startling; the first sex, for instance, with Beni's spit dangling from his lip to Fogi's skin, exploring Fogi's body with his lips and nose. It's incredibly erotic. But better than that, there's a rare tenderness that's very admirable. And I don't just mean their kisses (though that is part of it), I mean the generosity the filmmaker gives to the characters, the way he indulges in the druggy ecstasy of the first lust/love but also doesn't shy away from their tendency toward self-hatred.

Their relationship is very much a role-playing game: it's the rock star fantasy, and Beni, in his tight shirt, is a male groupie -- Fogi's special boy. His infatuation with Fogi makes sense if we get in his head, but the film doesn't make us feel it, especially; we don't feel the "rebellion" that Beni sees in Fogi (and Fogi's music isn't very memorable, or outrageously "rock"). As the relationship deepens, the role-playing becomes more sexual in nature, but the undercurrent of damaging emotions remain. Beni becomes a slave boy to his studly master, and the emotional degradation we begin to witness (Beni clinging, in his underwear, to Fogi's legs as he kicks him out) brought to mind Frank Norris' writing -- Beni barking like a puppy dog for sexual play, but also with a degree of self-loathing. (It recalls the rush of contradictory emotions in the scene in "Blue Velvet" where Isabella Rossellini begs Kyle MacLachlan to hit her.) It would seem that, when we see this formerly innocent fanboy now nuzzling his face in Fogi's crotch after having been humiliated by him (Fogi pours milk on him when he refuses to move), the Beni character has taken an unbelievable turn, but the transitions -- both of the film and of Beni's character -- feel smooth. (And the emotional specificity of the sexual games ring incredibly true.)

I think, by the time the end comes around, a certain sense of sadness permeates the film that is quite fine. The ending works according to the delusional aspect of the relationship -- at first Beni's recollections seem almost ridiculous, but it's very much in tune with what we've just seen. Heartbreaking, because kids do think like this. 9/10