Review: Small-Town Boys
- Gaël Lépingle spins a diffracted and atmospheric three-part tale about the solitude experienced by gay youngsters during the long, slow days spent in communities deep in the provinces
Many films opt for the road well-travelled, but some occasionally lean towards “Diversion” signs so as to venture into more isolated areas and tightrope-walk their way across the abyss. Such is the case with Gaël Lépingle’s new feature film Small-Town Boys, which was unveiled in the French competition of the 33rd FIDMarseille. Going against the usual urban film archetypes used to represent the gay community, the director immerses himself in the anonymous, semi-rural areas awash with ennui which make up the patchwork of the French provinces, a place of uncertain identity where he previously set Atomic Summer [+see also:
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Vendeuvre-sur-Barse in the French department of Aube, La Chapelle Saint-Mesmin and Hermoyin Loiret… Between residential areas and spur of the moment escapes to the surrounding countryside, the three settings for this tale, bathed in the heat of the summer sun, exude the same sense of desertification and of time spent waiting somewhat aimlessly, with no hope of daily life ever changing. So when a small, colourful and joyous troupe of mega-eccentric gay men arrives in town for an evening show, led by Gentiane (Jérôme Marin) but also including Jonas (Léo Pochat), Big Bertha (Daddy Darling), Princesse (Olivier Normand) and Lola-Cola (Mikarambar) - "we’re definitely going to liven things up here – There’s not much in the way of local colour!" - it’s like a bolt out of the blue for Youcef (Yves-Batek Mendy). But they’re only passing through, like a bright balloon disappearing into the sky, and life inevitably goes on… In another town, the film plunges us into a day of leisurely strolling (in heels) along the streets hiding their little secrets, in the wake of a handsome young man (Edouard Prévot) who’s waiting for his post-bac admission results in order to set off for new horizons. And finally, the third part takes us elsewhere, to explore an encounter between another young person (Léo Pochat once again, though he’s almost unrecognisable here) and 50-year-old Mathieu (Serge Renko), who’s a Spanish teacher on the one hand and a photographer specialising in semi-naked fancy dress on the other, all followed by a wonderful song-filled epilogue in Paris.
By way of this patchwork concept film which is careful to avoid labelling itself as a political and militant work, Gaël Lépingle manages to depict situations which seem different but are actually identical at heart, expertly availing himself of a touch of quirkiness which is tinged with a dash of lightweight melancholy on account of his knack for visually capturing solitude and the almost imperceptible. As Gentiane sings, "I advance naked, my tears consumed, I stand up against the wind, I walk alone, those who want me will have as much of me me as they did before; I’ve learned nothing, nothing every time, except that it won’t kill me… it’s nightfall, sad day, we no longer die from love…. Get through it, embrace the air, you see me… between two skies."
Small-Town Boys is produced by Haïku Films.
(Translated from French)