What starts off with a series of banalities, takes a shift, when two of the main characters- Frank (played by Frank Vitale, who also directs the film) and Bozo (Allan Moyle)- figure they should see what the whole homosexual thing is about, considering most of their friends are gay, and that they always end up on the subject while on acid.
Their manual experiment doesn't really seem do much for either of them, though.
So they decide to take it to the next level during a party.
However, while waiting for Bozo, Frank burgles the room of the homeowners, where he finds some photos of their androgynous-looking teen son...which triggers an unhealthy pederastic obsession within him.
So, when it becomes clear that Bozo isn't into the whole gay experiment, as he's interested in Jackie, a beautiful friend of theirs, who has recently returned to the area.
Frank arranges to take their friend's teen son up to the mountains, so that he can take some photos of him.
Underlying this, however, seem to be intentions to groom the boy to indulge in his own twisted sexual fantasies.
Things start off innocent enough...with the two getting along great...because despite being a grown ass man...Frank still lives in the mind of a boy.
He tries to filter his sexual fantasies through the lens of the camera.
But continues to develop a grooming relationship with the boy.
Not only do the boy's parents seem to be developing concerns about the relationship developing between Frank and the boy...but so do his gay friends.
They see this as a consequence of him being rejected by a woman he was desperately in love with.
A last ditch effort to seek love and attention from someone he can manipulate, as means to ward off his loneliness and on setting depression.
He starts to bring the boy to his haunts on the Montreal Main (St Laurent St), seemingly, to expose him to the gritty underworld that pervades the gay district of the city.
A subtle attempt to seed the idea in the boy's mind, before he gets the gall to make his move.
Up to this point, he has acted more as a mentor, playing the role of the cool uncle...which puts the boy at ease.
But as things progress, it becomes increasingly clear that he won't be able to avoid acting on his fetishistic desires for long.
And it doesn't help that his closest confidant has even more predatory qualities than he does.
When Bozo loses Jackie, as a result of his childish demeanour, he tells Frank he's into him...only for Frank to react violently, as if he is offended by the suggestion that he's a homosexual.
In fact, Frank never really seems to exhibit any homosexual tendencies at all, rather, he instead seems to be more drawn toward the innocence and genuine affection he receives from the boy, John.
But, as his friend tries to explain to him, any attempt to take the relationship in a sexual direction is not healthy, as it would be him imposing his will upon an impressionable kid.
The whole situation has put strains on both their relationships.
John with his family, and Frank with his friends.
Which instills a sense of fear in Frank, who doesn't know how to navigate and deal with his own feelings and desires.
He never does cross the line...but it doesn't make the boy any less of a victim.
As he's left angry and confused about the whole situation.
After everything plays out, we have a rather simple film, telling a straightforward story, about a very complex situation - the fine line between adelphopoiesis and pederasty.
Interestingly, much like Gordon Sheppard's film "Eliza's Horoscope" (which also takes place in Montreal) the characters in this film adopt the names of their actors in real life.
In that film, it was so they could better identify with their roles, so I imagine it was for a similar reason here.
Despite the fact that Sheppard's film wasn't released until 1975, it seems to have been shot prior to this film, so it is possible that Vitale was influenced by Sheppard to take that approach here, as well.
It was clearly an issue the filmmaking community in Montreal was dealing with at the time, as we can see from what we now know about the promiscuous activities of Claude Jutra, who was, himself, a pederast, attracted to young boys.
Fans of this film might also like Greg Araki's Mysterious Skin, which covers a similar topic, with a more artistic approach, and much darker result.
6.5 out 10.
Their manual experiment doesn't really seem do much for either of them, though.
So they decide to take it to the next level during a party.
However, while waiting for Bozo, Frank burgles the room of the homeowners, where he finds some photos of their androgynous-looking teen son...which triggers an unhealthy pederastic obsession within him.
So, when it becomes clear that Bozo isn't into the whole gay experiment, as he's interested in Jackie, a beautiful friend of theirs, who has recently returned to the area.
Frank arranges to take their friend's teen son up to the mountains, so that he can take some photos of him.
Underlying this, however, seem to be intentions to groom the boy to indulge in his own twisted sexual fantasies.
Things start off innocent enough...with the two getting along great...because despite being a grown ass man...Frank still lives in the mind of a boy.
He tries to filter his sexual fantasies through the lens of the camera.
But continues to develop a grooming relationship with the boy.
Not only do the boy's parents seem to be developing concerns about the relationship developing between Frank and the boy...but so do his gay friends.
They see this as a consequence of him being rejected by a woman he was desperately in love with.
A last ditch effort to seek love and attention from someone he can manipulate, as means to ward off his loneliness and on setting depression.
He starts to bring the boy to his haunts on the Montreal Main (St Laurent St), seemingly, to expose him to the gritty underworld that pervades the gay district of the city.
A subtle attempt to seed the idea in the boy's mind, before he gets the gall to make his move.
Up to this point, he has acted more as a mentor, playing the role of the cool uncle...which puts the boy at ease.
But as things progress, it becomes increasingly clear that he won't be able to avoid acting on his fetishistic desires for long.
And it doesn't help that his closest confidant has even more predatory qualities than he does.
When Bozo loses Jackie, as a result of his childish demeanour, he tells Frank he's into him...only for Frank to react violently, as if he is offended by the suggestion that he's a homosexual.
In fact, Frank never really seems to exhibit any homosexual tendencies at all, rather, he instead seems to be more drawn toward the innocence and genuine affection he receives from the boy, John.
But, as his friend tries to explain to him, any attempt to take the relationship in a sexual direction is not healthy, as it would be him imposing his will upon an impressionable kid.
The whole situation has put strains on both their relationships.
John with his family, and Frank with his friends.
Which instills a sense of fear in Frank, who doesn't know how to navigate and deal with his own feelings and desires.
He never does cross the line...but it doesn't make the boy any less of a victim.
As he's left angry and confused about the whole situation.
After everything plays out, we have a rather simple film, telling a straightforward story, about a very complex situation - the fine line between adelphopoiesis and pederasty.
Interestingly, much like Gordon Sheppard's film "Eliza's Horoscope" (which also takes place in Montreal) the characters in this film adopt the names of their actors in real life.
In that film, it was so they could better identify with their roles, so I imagine it was for a similar reason here.
Despite the fact that Sheppard's film wasn't released until 1975, it seems to have been shot prior to this film, so it is possible that Vitale was influenced by Sheppard to take that approach here, as well.
It was clearly an issue the filmmaking community in Montreal was dealing with at the time, as we can see from what we now know about the promiscuous activities of Claude Jutra, who was, himself, a pederast, attracted to young boys.
Fans of this film might also like Greg Araki's Mysterious Skin, which covers a similar topic, with a more artistic approach, and much darker result.
6.5 out 10.