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120 battements par minute (2017)

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120 BPM. The average heart rate. The protagonists of 120 battements par minute are passionate about fighting the indifference that exists towards AIDS.

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6 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
...
Thibault
Félix Maritaud ...
Max
Médhi Touré ...
Germain
Aloïse Sauvage ...
Eva
Simon Bourgade ...
Luc
Catherine Vinatier ...
Hélène
Saadia Bentaïeb ...
Mère de Sean
Ariel Borenstein ...
Jérémie
Théophile Ray ...
Marco
Simon Guélat ...
Markus
Jean-François Auguste ...
Fabien
Coralie Russier ...
Muriel
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Storyline

Early 1990s. With AIDS having already claimed countless lives for nearly ten years, Act up-Paris activists multiply actions to fight general indifference. Nathan, a newcomer to the group, has his world shaken up by Sean, a radical militant, who throws his last bits of strength into the struggle.

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23 August 2017 (France)  »

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120 BPM  »

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2.35 : 1
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On 19 September 2017, designated by the CNC as France's candidate for Foreign language Oscar. See more »

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Propaganda
7 September 2017 | by (Paris) – See all my reviews

Cinema is not propaganda or activism for any cause. Here there are two subjects, the Act-Up movement since 1989 and the staging of this movement through various characters. No critical viewpoint on the questionable and violent methods of such an organization, which uses the spectacular and exhibitionist side to promote itself. The excuse is disease (AIDS) and extremist activism that pass for good causes, but if the camp chosen is no longer the right one, it will no longer be open-mindedness.

Of course, Act up is not just about defending AIDS patients and implementing the "gay"ideology. Why are cancer patients not being supported so dramatically, let alone the other sections of the population, especially the poor who will suffer an unworthy fate? On the one hand, we forget the responsibility of the actors in their own sexual act and focus only on the pathos of the disease (this is the beginning of the integral victimization of society through transparency and self-exposure). One wonders why Catholics, for example, in order to take an easy target of Act up, are much less affected by AIDS. It seems difficult to act in spite of common sense in reality while asking it to spare us the slightest consequence? On the other hand, the whole defence of sexual minorities (following Michel Foucault) is put in place to make the consumerist society pass where the slightest subjective behaviour (sense) must be willingly or forcibly accepted as if it were an emancipation, whereas it is only an extension of the market and ultimately a symbolic destruction of the slightest rule or limit in terms of behaviour.

All of this is not questioned and must pass as normal, historically fair. The film boils down to being a long documentary where the scriptwriting is unbelievably lazy. In the staging, which is intended to be valiant, the director's staging is part of a French-French aesthetic with long dialogue beaches, psychological explanations, hollow dialogues as if it were a striking dialogue, long sex scenes, all without questioning the irresponsibility of behaviours. After films such as Cyril Collard's Nuits fauves, Olivier Ducastel's and Jacques Martineau's Nuits fauves, Kechiche's La vie d' Adèle de Kechiche etc. and even Alain Guiraudie's L' inconnu du lac d' Alain Guiraudie, this aesthetic is hardly praiseworthy to draw a fair and critical image of such a movement and homosexuals more generally. We're anything but movies. This is to say if the circle is vicious because this complacent cinema, playing on pathos and pain, does not seek in any way subtlety and reflection but the consent to the ideology developed, subjectively in phase with the imagery conveyed for years, almost impossible to question in particular by the extremist behavior of the actors-activists who are right by principle in their actions. There can be no serious debate. This kind of film serves in fact as a legend, a mythology to be inscribed in reality to the point that it is assimilated and becomes pure sugar, having actually taken place. It is a kind of storytelling no longer in the mythology of a company but as an inscription of a movement in the real world itself. We must not wait for the film to come to separate the grain from the chaff and it is not only there to authenticate an imagined reality. And it must be believed that each film of this type is necessarily rewarded at Cannes as the Grand Prix du Courage et de la Rebellion, even though we barely have the prevailing conformism.


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