JWR Articles: Film/DVD - Paris 05:59 (Directors/Writers: Olivier Ducastel, Jacques Martineau) - April 30, 2017

Paris 05:59

Théo et Hugo dans le même bateau

4 4
97 min.

A bounty of cinematic suppositions

Suppose you wanted to create a film that unabashedly took an up-close-and-personal view at a gay, after-hours sex club.

Suppose you wanted to let the camera tell the story for the first 15 minutes without a word of dialogue.

Suppose you found a pair of fine-looking actors who have no qualms about getting fully hard and totally physical with each other—barely/artfully missing the label of hard-core porn due to the lack of penetration close-ups.

Suppose you wanted to silently explain how a roomful of naked, horny men have certain—equally silent—rules about when no means no and how anyone with the, er, balls, to cut in on a public fucking can win the day and claim the man with virtually no acrimony.

Suppose the two sudden fornicators (Geoffrey Couët as Théo; François Namnot as Hugo courageously provide the heat and passion whether shot in sexy red, angelic white or cool, post-coitus blue) both ignored well-known-by-now safety precautions, letting the prospect of the already positive man possibly infecting the new partner with his first burst of unstoppable lust.

Suppose the after-sex glow of the two men exploded into fear and hate when the “I’m positive, but virtually undetectable” status is revealed during a bike ride that should have ended with round 2 in the sack. 

Suppose you wanted to infuse the remainder of the script with provocative social commentary about the health-care system, homophobia, truck stop sex, and under-employed Syrian refugees.

Suppose you were able to engage the considerable talents of composers Gaël Blondet, Pierre Desprats, Karelle Kuntur and Victor Praud to musically capture the essence, hedonism, romance, hate and reconciliation of the narrative

Suppose the screen was filled with inventive, wide-ranging images (Manuel Marmier, cinematographer) seamlessly stitched together (film editor, Pierre Deschamps).

Suppose you managed the entire production in such a way that most viewers came away educated, enlightened and hoping for the sequel.

To see just how these suppositions were handled by directors/writers Olivier Ducastel and Jacques Martineau, a viewing is highly recommended. JWR

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