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Ma saison super 8 (2005)

Unrated | | 23 October 2005 (France)
Paris, 1968. After a failed attempt to gain national acceptance for gay rights, Marc finds himself lost, dealing with the joys and agonies of being gay during a time when homosexuals had no place in society. That is until he meets Andre.

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Cast

Cast overview, first billed only:
Axel Philippon ...
Marc
Célia Pilastre ...
Julie
Roman Girelli ...
Andrea
Antoine Mory ...
Stéphane
Magali Domec ...
Marguerite
Thierry Barèges ...
Vincent
Nicolas Quilliard ...
Le père de Marc
Marie Casterez ...
Thérèse
Luisa de Martini ...
Ménie Grégoire
Gisèle Bosc ...
La psy
Jean-Pierre Frankfower ...
Le professeur
Silvana Gasparini
Paco Perez ...
Marc-Antoine
Simon Bonnet
Jean-Paul Nicolaï ...
Le prêtre
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Storyline

Paris, 1968. After a failed attempt to gain national acceptance for gay rights, Marc finds himself lost, dealing with the joys and agonies of being gay during a time when homosexuals had no place in society. That is until he meets Andre.

Plot Summary | Add Synopsis

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Unrated | See all certifications »
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Release Date:

23 October 2005 (France)  »

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Aspect Ratio:

1.66 : 1
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User Reviews

 
couple this with 'Born in 68'
26 February 2010 | by (london) – See all my reviews

Worth noting this film, evocative of 'Born in 68' predates it by 3 years.

Similar to the above mentioned but more modest in it's attempt to appraise the revolutionary epoch 68-74. The film takes it's perspective via the rise of gay liberation-ism, interestingly in a scene near the opening, suggesting that gay liberation was potentially seen as bourgeois and therefore not a subject for revolution and this exclusion drives the protagonist into a movement which politicises sexuality.

There are a lot of 68 clichés here, running like a call list of icons that must appear. However the gay imagery prevails in the overtly Goddard / nouveau vague cinematic stylisation and in some sense it successfully stakes out a gay vision of what was previously heterosexual imagery. The french are of course strong on producing a steady stream of low budget films which dutifully explore life's issues. That sense of cinematic duty pervades this film also.

The run of recent films which revisit this period share many similar characteristics. Ange Lee's Taking Woodstock, Born in 68 and this particular film have all notably interjected gay protagonists where they did exist but were historically excluded from visual representation at the time.

It is usual for the 68 epoch to carry an enormous weight of promise & possibility and there is a sense in these reassessment movies that they seek to unlock something of that energy yet ultimately they find nothing left but echoes, ghosts and spectres. The cultural anticlimax of the early 70s has become an awkward presence in these cinematic narratives and it induces uncertainty about how to draw conclusions. The personal value it holds for the protagonist at the end and the suggestion of hope for a return to such times in the future may or may not come to pass. However, in retrospect, one wonders if the desire to revisit this period is also concerned with a collective desire to be set free of it.


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