L'Inconnu du lac (2013)

Orginaltittel: L'Inconnu du lac

Go in aware that much of the sex is unsimulated, then revel in the ways Guiraudie uses his rigorous perspective, in addition to an always gorgeously-composed widescreen frame, to normalize behavior that is anathema in polite society. (It's little surprise that the work of Georges Bataille is one of the director's acknowledged influences.) But also go in knowing that there are very real, very potent emotions underlying every action, be it an explicit sex act, a lingering embrace, or a horrible realization that meting out death does not necessarily preclude love.


Vi sakser fra TimeOut New York, som skriver dette fra Cannes-festivalen:

"Now for a virtuoso of another sort: A bevy of Twitter responders pointed me to the final film of my second day in Cannes, Alain Guiraudie's transgressive and transcendent Un Certain Regard entry Stranger by the Lake. Guiraudie is unfortunately little-known stateside beyond a devoted few, and it's doubtful this mesmerizingly odd mix of queer-culture ethnography and Hitchcockian thriller will win him many converts. Consider that a wholehearted recommendation.

As in The Past, location is key: The entire film takes place by a shimmering summer lake-an Edenic haven for gay and curious males of all shapes and sizes to lie around nude and sneak off into the nearby whispering woods for sex. Our lead is the beautiful, swimmer's-bod buff Franck (Pierre Deladonchamps), who struts around with genial confidence. He's not one of those pretty boys who will avoid anyone plus size, but though he strikes up an easy friendship with the lonely, obese Henri (Patrick D'Assumçao), Franck's eye and libido are more tickled by the '70s porn mustache-sporting Michel (Christophe Paou). The only potential problem? One evening, Franck witnesses Michel drowning one of his conquests, which he discovers does little to negate his attraction.

Plenty of gay-themed films have included murder as a plot point; William Friedkin's loathsome Cruising made an early-AIDS-era spectacle of the small divide separating loving and life-ending penetration. What distinguishes Guiraudie's approach is his keen eye for queer conduct and comportment: He spends most of the first half-hour acclimating us to the movie's microcosmos-a libidinally unashamed world of charged gazes, full-frontal displays, and open-air eroticism-before seguing into a deeply unsettling exploration of infatuation


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