120 BPM - Dir. Robin Campillo

 

Many films are an outlet to escape reality but occasionally there are films that dramatically ground you in the real world. Shedding light on a group of HIV / AIDS activists associated with the Paris chapter of ACT UP, Robin Campillo’s 120 BPM is a visceral hard-hitting piece of cinema. Intelligently written, it tells the story of a group at odds with the French government’s handling, censorship and quieting of the AIDS epidemic. The group's efforts are focussed on Pharmaceutical company Melton Pharm, who's slow release of their HIV trial results angers them into action. 

Interestingly Campillo described himself as an ACT UP militant in the 90s. His co-written screenplay oozes authenticity and whilst it is told from the perspective of the group, it does not shy away from the difficulties any activist group faces; disorder, confusion and unrest amongst rank. 

Whilst it may not offer the most cinematic experience initially, the love story that develops slowly between Sean, played by Nahuel Pérez Biscayart and Nathan, played by Arnaud Valois reveals the tenderness of the story and skill of the cinematography as the film continues. It is this love story, beautifully threaded to the main narrative that keeps the focus on the struggle that so many people faced in the 90s. It is unsettling, frustrating, tender and well made. 

Like a lot of great French cinema, acting is the key ingredient and Campillo confidently directs the main cast. Biscayart’s performance is particularly poignant, blending the political and personal narrative to full effect. The deeply emotional ending is an incredible piece of cinema and it’s not surprising that this film was France's sole submission to the Foreign Language Film Award at the Academy Awards. 

My only reservation relates to the break-ins and more outlandish political activism that occurs sporadically throughout. I found the realism of these scenes too meek and not as gritty and alarming as one would imagine them to be. The camera work seemed too controlled and safe, it wasn’t as believable as the group's meetings, where vast dialogue is shot effectively. You could, however, argue that softer imagery juxtaposed with these events reflects the group at odds with their approaches to activism; the radical element verses the more conservative members. 

Whilst the film has enjoyed a long, successful film festival run, it has only been given a limited release in the UK. I watched it on the smallest screen at my local cinema with only 5 other people. With that in mind I urge you to watch it in the cinema before you miss your chance.

7.5/10