De l'amour et des restes humains

I first watched this movie in a hotel room with my then boyfriend. I looked all over to own a copy of it, and only found it at 1 BB video store in the early 2000s. So I rented it and told them I lost it. I love this movie. I'd really seen nothing like it before. Most of the gay cinema I'd seen was very trite, pretty boys, lots of nudity, bad acting and little plot. The plot of this movie happens while a serial killer is killing off random women. Usually the serial killer would walk into frame and I would say "that's him" or "that's her" but it didn't even occur to me. It isn't that the mystery is so intricate it's that the plot is going off in so many directions that are interesting while also being slightly distracting. It follows a main character but also his friends, who I actually cared about. They aren't 2 dimensional. There is even a young love interest, a 16 y/o boy who's the main characters biggest fan ever, I won't tell you if they get together or not but the thing is, you really don't care. That's how good the movie is. Usually when watching gay cinema everyone who watches including me wants the main character to find love. I didn't care if he did. He had an interesting journey and took me with him and that was satisfying enough.

Quirky, brilliant, twisted, dark, inventive, unnerving. This is a wonderful film, extremely well acted and smoothly directed. Moody and atmospheric, death stalks this mixed assortment of oddball lovers, both inside and out. Yet it is not a bleak tale of destruction, but a story of redemption, survival, and finally love. A great job by everybody involved. Top marks!

There is, as many reviews have observed, a strong dark streak to this movie. The director it most recalls to me is John Landis (yeah, go ahead and howl about what a peasant I am). Arcand has the gift of exploring frivolous things in a bleak, gray kind of way, then turning round and exploring the horrors of life with a lighthearted touch.

The cast is, without exception, above average. Thomas Gibson, as David, is outstanding as the moody and self-deceptive center around whom the rest of the characters revolve. He talks a good nihilist, but his actions reflect more love in his character than he is willing to acknowledge. Gibson was already a strong and subtle actor in 1993. It was difficult to look at him and see Greg Montgomery, let alone Agent Hotchner of Criminal Minds.

Perhaps not the best scene, but the one I enjoy most, my "rewind scene," is the section where Candy is expecting a visitor, and one uninvited person after another shows up at the door. As Candy's interpersonal environment swings further and further out of control, David just grows bouncier, perkier, and more enthusiastic, like a gaunt Gen-X "Tigger."

Yes, this film has many gay characters. It also has straight characters, characters who are not sure about their sexuality, people who are searching for some truth about their existence.

This is not a film about sexual orientation. It's about loneliness and the difficulty human beings often experience in connecting to one another. Filmically, Denys Arcand cleverly balances the various dimensions of the relationships and the contrasting, constantly shifting relationships. The serial killer element is a bit less successful (it feels more like a way to wrap up various plot points and, unlike the rest of the film, is thematically heavy-handed).

Thomas Gibson centers and grounds the film; it's a quiet performance but behind the handsome, arrogant exterior he slowly reveals a terrified soul afraid of showing or accepting love from those around him. The supporting cast is strong, especially Mia Kirshner as Gibson's friend, a dom-for-hire with precognitive powers. Her role is more metaphor than a literal conceit---strangely innocent and depraved at the same time, she represents the light and dark of the characters' sexual consciousness.

The film's involving and often surprises in its character development. The effect is somewhat like Robert Altman directing a David Mamet script---the dialogue doesn't shrink from some searing observations aside from a few contrived moments in the beginning. Often, in our search for love and a conventional "relationship", we ignore the love that already exists around us---in our friends, family, those who are able to see us as we are. Arcand and the writer, Brad Fraser, make some canny observations on the different ways human beings try to escape and deny their loneliness and how that denial returns to haunt us in so many unexpected ways.

This film is a rewarding experience. It may not be for bigots who can't get past the sexual orientation of some of the characters to see the greater, transcendental message of hope and redemption. Loneliness is a universal experience. A film like this, that dares to explore the darker side of our lives with a clever and perceptive eye, deserves applause and an open-minded approach.

Once again, I am amazed that Thomas Gibson did not come to the head of the pack earlier in his career. In this film, Gibson once again demonstrates his ability to grasp a character regardless of sexuality, social status or nationality. Gibson plays a very convincing gay male of the late 20th Century. Tender yet not effeminate, afraid of the basic tenets of love, Gibson's character touches a variety of emotions. Also worthy of praise is Cameron Bancroft's performance. His need to be the heterosexual conqueror as opposed to his best friend's "homosexual conquests" provides dynamics for the relationship that are in many ways unexpected. Bancroft and Gibson's chemistry is apparent from the first scene they appear in together. There are many "panels" in this quilt. From gay relationships to straight relationships; from heterosexual relationships to the exploration of lesbian love; this film travels across the broad spectrum of sexuality while having the story of a serial killer at its core. My only regret is that it took 6 years since its release before I discovered this movie! I look forward to seeing it again and highly recommend it to any fan of Bancroft, Gibson or Director Denys Arcand.