BPM (Beats Per Minute) discussion with director Robin Campillo and actors Nahuel Pérez Biscayart and Arnaud Valois on October 22, 2017 at the Samuel Goldwyn Theater
This was a great movie. It is the French Film Festival here in Australia at the moment. Anyway, I saw the trailer and I had to watch it. I got teary at times & there are parts that was confronting. Bravo though.
Fichtre ! Ils parlent bien anglais ! Enfin des francophones qui vont à l'encontre du fameux cliché qui dit que nous ne parlons que notre langue ! (I know Biscayart is argentinian)
I've heard people say about Erik Satie's Gymnopedie No. 1, especially, that they feel nostalgic towards an epoch or situation in time that they were not even a part of. A simultaneous rush of warm intrigue and a deep wistful solemnity. This film had an impact on me that is very much akin to that. The score especially provided that euphoric pulse that is quintessential early 90s, with those elements of electronic disco providing so much colour. The drive was consistent, and I could almost smell the collective sweat of the crowd in the dance scenes, but there was a strange lacuna. A certain vapidness that provoked a registry of the ominous chill that coexisted with the joi de vivre, the characters' courageous defiance, and the valour to just be. It's hard to put into words how visceral Nahuel's portrayal of Sean is. I was struck by the intensity that pulled you into Sean's daily pain, his love for Nathan, and his devotion to channel his fury, and every remaining ounce of energy into affecting meaningful change before it became too late. The performance let me hark back to Tom Hanks in Philadelphia, not least because of the arc of the journey, but how this character just scintillated with a charming charisma, feverish determination and deep sadness at the same time. The ending of 120 BPM in particular made me feel something very eerie, and unexpected. It was akin to the sensation I experienced when watching Philadelphia's final scene, showing Andrew Beckett's memorial. In which his nearest and dearest came together to honour and reminisce upon his life. The final shot in Philadelphia shows the playing of old home movies of Andrew as a child, and ends on a still of him looking towards the camera. To say it's a plaintive and tear-jerking moment is an understatement. When the ACT UP Paris members invade the health insurance conference, and throw Sean's remains over the food and attendees, it was an astounding performance from both Nahuel and the others... because... like how I felt about Tom Hanks' character, I had a distinct feeling that Sean was still there. That he wasn't dead. Regardless of his grim new posthumous role in the latest protest. It was so strange, and incredibly moving. Like the music, what isn't there, and what is, are of equal importance. Maybe it's because this idea was so in keeping with the raging activism and bravery Sean and the others exhibited, the trajectory felt right, and still carried the weight and intensity of Nahuel's performance, even though corporeal Sean Dalmazo was nowhere to be seen, ever again. I really hope Mr Biscayart is incredibly proud of his work in this film, and if he ever reads this, knows that this to me is one of the most passionate and affecting performances in recent times. Thank you so much x
I have seen a few films where the cinema audience was quiet at the end, but I never experienced such a quiet, subdued, moved audience like with this film. On the other hand the end is very empowering
![Only Way An Actor Can Do Great Work - Arnaud Valois & Nahuel Pérez Biscayart [FULL INTERVIEW]](http://i.ytimg.com/vi/Sw41RkRzEcY/mqdefault.jpg)
![Only Way An Actor Can Do Great Work - Arnaud Valois & Nahuel Pérez Biscayart [FULL INTERVIEW]](/img/tr.png)
![Eminem - Houdini [Official Music Video]](http://i.ytimg.com/vi/22tVWwmTie8/mqdefault.jpg)
It's such a huge shame, bigly, that this film wasn't even shortlisted for an Oscar for foreign film!
Please give Nahuel Pérez Biscayartan an Oscar nomination for Best Actor.
It’s so shame that this film didn’t make its way to the final nominees of academy awards... I think it’s great loss for Oscar indeed...
This was a great movie. It is the French Film Festival here in Australia at the moment. Anyway, I saw the trailer and I had to watch it. I got teary at times & there are parts that was confronting. Bravo though.
Fichtre ! Ils parlent bien anglais ! Enfin des francophones qui vont à l'encontre du fameux cliché qui dit que nous ne parlons que notre langue !
(I know Biscayart is argentinian)
:-) Il est argentin et parle couramment 7 langues.
I've heard people say about Erik Satie's Gymnopedie No. 1, especially, that they feel nostalgic towards an epoch or situation in time that they were not even a part of. A simultaneous rush of warm intrigue and a deep wistful solemnity. This film had an impact on me that is very much akin to that. The score especially provided that euphoric pulse that is quintessential early 90s, with those elements of electronic disco providing so much colour. The drive was consistent, and I could almost smell the collective sweat of the crowd in the dance scenes, but there was a strange lacuna. A certain vapidness that provoked a registry of the ominous chill that coexisted with the joi de vivre, the characters' courageous defiance, and the valour to just be.
It's hard to put into words how visceral Nahuel's portrayal of Sean is. I was struck by the intensity that pulled you into Sean's daily pain, his love for Nathan, and his devotion to channel his fury, and every remaining ounce of energy into affecting meaningful change before it became too late.
The performance let me hark back to Tom Hanks in Philadelphia, not least because of the arc of the journey, but how this character just scintillated with a charming charisma, feverish determination and deep sadness at the same time.
The ending of 120 BPM in particular made me feel something very eerie, and unexpected. It was akin to the sensation I experienced when watching Philadelphia's final scene, showing Andrew Beckett's memorial. In which his nearest and dearest came together to honour and reminisce upon his life. The final shot in Philadelphia shows the playing of old home movies of Andrew as a child, and ends on a still of him looking towards the camera. To say it's a plaintive and tear-jerking moment is an understatement.
When the ACT UP Paris members invade the health insurance conference, and throw Sean's remains over the food and attendees, it was an astounding performance from both Nahuel and the others... because... like how I felt about Tom Hanks' character, I had a distinct feeling that Sean was still there. That he wasn't dead. Regardless of his grim new posthumous role in the latest protest. It was so strange, and incredibly moving.
Like the music, what isn't there, and what is, are of equal importance.
Maybe it's because this idea was so in keeping with the raging activism and bravery Sean and the others exhibited, the trajectory felt right, and still carried the weight and intensity of Nahuel's performance, even though corporeal Sean Dalmazo was nowhere to be seen, ever again.
I really hope Mr Biscayart is incredibly proud of his work in this film, and if he ever reads this, knows that this to me is one of the most passionate and affecting performances in recent times. Thank you so much x
His english is so good (i mean Nahuel Perez)
Il mérite l'oscar du meilleur film étranger! Bouleversant!
120 battements par minutes quel beau film 😍
Great movie n ending just tear me down tears just too much 👏👏
I have seen a few films where the cinema audience was quiet at the end, but I never experienced such a quiet, subdued, moved audience like with this film. On the other hand the end is very empowering
Fantastic but sad and lonely film. One of the best ever films.
First ! I got an academy award !!
How come they are fluint in both french & English? Wow
@rogerina taylor buddy? what's that?! also _goals🤩_