REVIEW: BPM (Beats Per Minute)

Courtesy of The Orchard

Looking at American films about the HIV/AIDS crisis of the late 20th century, it’s clear that our culture has a tendency to moralize, lecture and depict those most affected by the disease as saints on the road to martyrdom. Beats Per Minute, France’s entry in the race for this year’s Best Foreign Film Oscar, doesn’t have those issues.

Instead, this heartbreaking, deeply intimate look at a group of young, mostly LGBTQ activists battling for the voiceless in a callous society, is unflinching in its portrayal of these characters as actual people. They’re flawed, they’re often hurt and angry, and they sometimes come off unsympathetic as a result. But that doesn’t mean they’re not still worthy of love and respect.

In the early 1990s, the HIV/AIDS epidemic hit France hard. Because the illness was still viewed by many people as “the gay plague,” God’s judgment on evil sinners, the response of government agencies and pharmaceutical companies was indifferent at best, outright hostile at worst. As a result, a group of passionate young Parisians saw what ACT UP (AIDS Coalition to Unleash Power) was doing in American cities like New York and Boston, and formed an international chapter.

Director Robin Campillo (who also collaborated with Philippe Mangeot on the screenplay) introduces viewers to this world through Nathan (Arnaud Valois), a newcomer to ACT UP. Although timid at first, he dives in after learning about the organization’s procedural methods (including lots of lengthy meetings and debates) and civil disobedience (frequently involving protesting, marching and graffiti).

The cause becomes even more personal when Nathan falls in love with Sean (Nahuel Perez Biscayart), an HIV-positive member of the group. As Sean’s illness progresses, the film ponders how everyday life continues – the fear, rage, joy and love, frequently occurring simultaneously.

At nearly two and a half hours, Beats Per Minute takes its time immersing viewers in this world, allowing them to get to know Nathan, Sean and other characters in an intimate way. That’s literally true in one of the film’s most pivotal sequences – an unhurried, graphic love scene in which the two men get to know each other better while sharing personal stories about their lives.

It’s the kind of moment European cinema doesn’t shy away from, but we rarely see in American movies (likely because of our culture’s wildly differing views on sexuality, but that’s a debate for another day). The film also depicts the characters’ gradual physical decline in a far more straightforward way than I’m used to seeing. Rather than filming it with soft lighting and a maudlin score, it’s a stark but realistic portrayal that shows life doesn’t stop because we suffer a personal tragedy. The fight must continue.

Performances are complex and strong across the board, especially Valois and Biscayart. However, I also enjoyed Adele Haenel’s work as Sophie, one of the guys’ ACT UP colleagues. Any time she was on screen, I kept wishing she had more to do.

While the film’s subject matter and graphic sexuality will limit its audience, I absolutely loved spending time with these characters and watching them fight for a vital cause. Beats Per Minute is one of the year’s best films.

BPM (Beats Per Minute) is not rated, but contains strong language, graphic sexuality, and thematic elements. Now playing at Landmark Midtown Art in Atlanta.

Grade: A