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They piece together a more prosaic story: Théo didn’t use a condom, and Hugo is HIV-positive. When the young men finally emerge from the club and bike together into the night, they try to articulate what happened between them-both recognize their encounter as something extraordinary. Théo (Geoffrey Cou ët) sees Hugo (Fran çois Nambot) across this crowded room, and quickly engineers a meeting, which results in a kiss, even though both are literally having sex with someone else. Paris 05:59: Théo & Hugo, a love story, begins in a subterranean chamber of naked joy: it is a gay sex club in Paris, and all the men downstairs are red-lit and thrumming with intention. In the dust, the naked child of local farmers plays with demented joy. One shot takes in the boundary between bright grassland and a dark slope of discarded rock, which seems to be pushing forth into new territory. The camera keeps pace with slow-moving trucks, loaded with coal, and with a horse galloping through the steppe. Gradually apparent are the bleak monotony of the miners’ lives, and the troubling allure of destruction on a gigantic scale (“We will sing of… factories suspended from the clouds by the threads of their smoke,” wrote Marinetti, who wanted to do away with Dante). Zhao’s preference is to train the camera on a landscape, or a face, or a room, and go on looking until the fundamental topography of his subject is revealed.
#BEST MOVIES 2017 JAN SERIES#
In a series of long takes, Zhao looks concertedly at Dump Country-the open-pit coalmines of Inner Mongolia, a green steppe rendered so filthy, craggy, and abysmal by mining that Zhao’s voiceover borrows from Dante’s Inferno to describe it. But there are exceptions in this dominion of crap, including Behemoth, a lyrical documentary by the Chinese director Zhao Liang. At the movies, it’s Dump Month, which stretches into February: no film with award aspirations will open until the end of winter. Welcome to another installment of our monthly feature in which a rotating cast of film critics hold forth on the highs and lows of month of moviegoing.Īlways at the multiplex, and this year at the White House, January is an ugly and dismaying spectacle.