120 battements par minute

Bon film !

Bon film !

This film remains timely despite it's historical perspective of French Protesting to advance HIV research and viable medical treatment. Funding is always precarious as politics, stereotypes and access to prevention remains limited almost 40 years later. Definitely a film to see.

I did not really like this movie. They are creating awareness about AIDS. I do not advice to anyone to watch this movie. Do not waste 143 minutes of your life.

If "BPM" had been made in, say, the early 1990s, it would have been an urgent clarion call hard to ignore. But in 2018 one looks to movies about the AIDS epidemic to tell us some things we don't already know, and this film feels strangely anachronistic. It's not like I'm naive enough to believe that everything about the disease and those who suffer from it is hunky dory now. But medical and cultural progress has come a long way since AIDS first emerged on the grim horizon, and this film feels like a public service message released too late to do any good. I would have been satisfied with a film chronicling the early days of the AIDS activist movement, which this movie promises to be in its opening scenes. But what I didn't need was a prolonged film about one young man dying slowly from the disease. Do I need another movie convincing me that AIDS is a horrible thing to die from? There was a lot of head scratching when the Academy Award nominations for 2017 were announced and "BPM" wasn't on the list for Best Foreign Language Film. That head scratching was what led me to see it. Now that I have, I don't think the Academy made a misstep in overlooking it. Grade: B

ACT UP was an activist group that sprung up in the New York City AIDS community. BPM is a bracing energetic look at its sister group in Paris in the 90s. To it's credit, BPM Director Robin Campillo and writer Philippe Mangeneot don't shy away from how controversial the organization was in general society as well as with other AIDS activist groups, and indeed, within the ACT UP itself. This isn't mere hagiography, but a living breathing testament to the era. Much of the movie plays as a fly on the wall look at the issues and conflicts both outside and inside the group and its members. Campillo enlivens some of the dry technical talk with sporadic montage outbursts. But, they aren't just mere scene breaks, but, function as a way of showing these are dynamic three-dimensional people - not just "victims". About midway, there's a long sex scene that, while intensely intimate, also brilliantly weaves in many of the movie's themes. The scene is between on of ACT UP Paris' co-founders Sean (Nahuel Pérez Biscayart) and a newer member Nathan (Arnaud Valois). From that point on the movie shifts from a more general look at the group to focus more on Sean and his declining health. It's a risky structural move, and not one that is entirely successful. While it is no doubt important to personalize the crisis on a personal level, it unbalances the whole a bit. It's also more than a little protracted, and feels rhythmically out of place with the better paced rest of the piece. It does lead to one particularly vivid final act of demonstration among the other members of ACT UP Paris. BPM is one of the best movies on the AIDS crisis, joining another excellent French film, SAVAGE NIGHTS (1992) on that list. It's difficult, it's sometimes hard to watch, but, it's refreshingly alive unlike all too many films these days.

A story with a particular historical moment in mind has been rendered timeless. A random first generation Gameboy generates a temporal whiplash, as the film's events are portrayed as contemporary catastrophes. Silence equates to death, and the team meeting in a college lecture hall has dwindling numbers, yet deafening shouts. A prejudicial plague scorches France, bringing an already tight-knit community into a blood brotherhood. ACT UP is a guerrilla group full of eventual corpses. The HIV epidemic has threatened their love and survival. Pharmaceutical companies have cubical indifference as antidotes are sluggishly distributed by financial logistics. As the non-violent vigilantes face just as many internal conflicts as press-generated woes, their operations grow in scale and creativity. Their weekly conferences have an intentional cadence complete with respectful snaps, hisses, and hand signals designed to facilitate the mutual understanding that has gone extinct beyond the university walls. Sean is one of he founding members, and has some of the worst test results. He is the loudest in any given demonstration, and celebrates harder than all his peers. ACT UP is Sean's final lifeline, and his involvement resounds as a funeral dirge among a thunderous parade. Campillo has delivered another dialogue driven barrage of human desperation. The sprinkling of establishing shots offer a reprieve from the claustrophobic disputes between the positives and the businessmen impartial to death. An important angle to an understated tragedy that shaped legislation in the most vital ways.

"BPM (Beats Per Minute)" (France 2017) With this film I have finally completed watching the Trifecta of Great Queer Cinema of 2017! Set in the early 1990's, this is the story of ACT UP -- Paris, a rebel activist group composed of those infected with HIV/AIDS and their allies. Their mission: to educate the public on HIV/AIDS & safe sex practices; to change the public perception and dialogue of the epidemic; and to pressure politicians and pharmaceutical companies to take action in the fight against HIV/AIDS. At times the film (clocking in at nearly 2 & 1/2 hours) drags a bit...especially when delving into some of the medical/scientific specifics of HIV or the laborious in-house debates at ACT UP's weekly meetings. But, the end result is a powerful, dark, and heavy testimony to the importance of political activism....and the struggles many in our community faced during the early days of the AIDS Era. Intermixed are themes of friendship, the power of community, and seeking love in the face of fear. This film is not as easy to watch at "Call Me By Your Name" or "God's Own Country" but certainly worth the added effort! [5/5]

First, the good: Visually, this was really beautiful and inspiring. Also, the production was professional. But that's where it ends. This overrated, bloated exercise in tedium will leave you wondering why you bothered. There is virtually no story, no plot, just an unlikely, unbelievable relationship that emerges out of nowhere between an older male in his 30s and a young teenager of 17. If you enjoy watching artificial sex scenes between these 2, bordering on pedophilia, you might enjoy the film. In addition, if you want to see a pic totally funded by and in promotion of big tobacco, this is for you. Nearly every scene, nearly every character is smoking a cigarette, despite how stupid and phony this looks. This is the price the viewer must pay for a major studio production promoting smoking and man/boy sex.

In Paris in the 1990s, a group of AIDS activists (the Paris chapter of ACT UP) plans regular meetings to set up demonstrations and protests - mainly against drug companies. Two members of the group become involved in a romance: Sean (Nahual Perez Biscayart), a long-time activist who is HIV-positive; and Nathan (Arnaud Valois), an activist newcomer who is HIV-negative. "BPM" lacks a full historical context as to why ACT UP is so angry against the drug companies among other institutions and individuals. While the urgency is understandable for those living with AIDS, there is no perspective given to drug companies on why they and their representatives are so despised. They (of the drug companies) are given too little exposure for the viewer to understand their perspective. Perhaps a scenario of annoying bureaucracy would have been helpful. During that tragic time period, there was a lot of indifference, denial, and prejudice about AIDS. This is not reflected well enough in the film. Instead, the drug company reps look innocent while some of the ACT UP activists come off as violent and harsh. This should not have been the case. But the movie truly shines in the relationship between Sean and Nathan. Both actors do a great job especially Perez Biscayart who shows a strong range as Sean's physical condition gradually deteriorates. The film also excels in a particularly moving death scene. It is very realistic as those grieving share a collective silence and awkwardness among each other. This scene easily reminds viewers of the various losses in our own pasts. Despite the film's flaws, its assets make it a touching experience. - dbamateurcritic.