Wild Side

In Paris, the thirty-two years old travesty Stéphanie (Stéphanie Michelini) a.k.a. Pierre is a streetwalker that lives with the Egyptian gay hustler Djamel (Yasmine Belmadi) and the Russian gay Mikhail (Edouard Nikitine) that works in a restaurant. When the hospital where her mother Liliane (Josiane Stoléru) is terminal calls her, she travels with her two lovers to the countryside to look after her dying mother. While at home, she recalls her childhood and how she met Djamel and Mikhail.

"Wild Side" is an unconventional love story recommended for specific audiences. I am not fan of movies about homosexual relationships, but "Wild Side" is a good movie indeed, a sort of gay version of "Jules et Jim" regarding a woman divided by her two lovers. The performances are top notch and very realistic especially considering that this is the first work of Stéphanie Michelini and Edouard Nikitine. Unfortunately the characters are awfully developed and never explains why Pierre left her hometown when he was fifteen years old and why he became a travesty. Or why Mikhail left home in Russia. Or why Djamel has a relationship problem with his mother; further, the abrupt conclusion is disappointing and pointless. My vote is six.

Title (Brazil): "Lado Selvagem" ("Wild Side")

Wild Side was one of the best movies at last year's Rotterdam Film Festival, and is a must see for the admirers of Lifshitz (Corps overt, Les). The title refers to Walk on the Wild Side by Lou Reed.

The story follows the lives of three social outcasts. Stéphanie is 32, transsexual, a prostitute and tired of life. She finds incidental moments of happiness by going out or hanging around with her girlfriends. Stéphanie lives with Jamel (Terres froides, Les), an young North African who also occasionally works as a prostitute. When Stéphanie meets the Russian Michail, a deserter and illegal immigrant in France, she can't choose between the two men and a triangular relationship ensues.

The 3 characters are by society considered as outcasts, but the unlikely friends have found comfort and passion in each other. Lifshitz managed to create a mirror of life and hope, which is reflected through the beautiful performance of his actors.

The director provides a realistic picture of the life of his characters, without glorifying or glamorising the fringes of society. A movie for those who appreciate life, love and friendship.

8/10

This film does have a lot of depth to the characters, but you don't see it on screen.

If you are one of those people who watches a film for the bits you see on screen and have little time to explore what is happening away from what we are directly looking at then maybe you might not enjoy this.

There is a lack of glitzy feel-good factor about the film, but in my opinion it is what makes it so beautiful. The roughness of it all is where you can concentrate on what is happening inside the characters and not with what they are wearing, or what they look like etc.,

The struggle going on in all the main characters lives and the way they deal with society and interact with it is also very well done. The country scenery, although bleak, takes on a beauty and serenity compared to the almost chaos of the city scenes.

A lovely scene from antony and the johnsons lead singer(antony) adds to the whole group atmosphere.

This film is more like a fly on the wall of life amongst a section of trans-gendered people and their close ones more than a film with a plot. Definitely worth watching if you have an interest in these issues.

Sébastien Lifshitz ('Come Undone', 'The Crossing') is one of the more sensitive directors to arrive on the scene in some time. He molds stories about the periphery of mankind and creates deeply human dramas without the clutter and noise that often dampen the effect of intense emotional experiences. He is intelligent, a fine writer and observer and a man unafraid to take chances: all but two of the actors in WILD SIDE are amateurs with no experience in front of the camera and from these neophytes he extracts brilliant performances. He is an artist to watch.

Stéphanie (Stéphanie Michelini) is a transsexual who makes her living through prostitution on the streets of Paris. She is a gentle, soft-spoken, tender person who is making her way in life as the being she has selected to present. She meets Djamel (Yasmine Belmadi) a handsome bisexual North African young man who likewise makes his living turning tricks in the subways and streets of Paris, another person estranged from his family as is Stéphanie. Yet another young man Mikhail (Edouard Nikitine) estranged from his family in Russia meets Stéphanie and falls in love with her. The three outsiders from a true ménage a trois, all three genetically males, all three in need of love and belonging and capable of sharing love equally within the trio. When Stéphanie learns her estranged mother (Josiane Stoléru) is critically ill, she travels to her rural French neighborhood of her youth together with Mikhail and Djamel and it is this confrontation with her past and the way she pieces her life together with the love of Mikhail and Djamel that creates the beauty of this film.

Though there are innumerable reasons for recommending this film the main one remains the manner in which Lifshitz has taken a script written with his long-term associate and fellow professor at La Fémis (Paris) Stéphane Bouquet about a marginalized portion of society and crafted one of the more touching love stories that needs and receives no apologies. Stéphanie (the actress is a transsexual in real life and has never acted before) is presented not as an oddity but as just a human being for whom life has dealt some challenges. We see her in the opening scenes fully nude with the lovely body of a female that happens to also have male genitalia. The isolation of Stéphanie's life is shown from the beginning in a scene where a group of transsexuals listen tearfully as a singer (Antony Hegarty) sings a tender ballad 'I fell in love with a beautiful dead boy...but was he a girl or a boy?'. This quiet manner pervades the film.

Mikhail is likewise played by an unknown inexperienced actor and plumbs the depths of his lonely Russian émigré with gently nuanced humility. Djamel and Stephanie's mother are played by actors with whom Lifshitz has worked before and their superlative work helps coax the best performances from the neophytes. The breathtaking cinematography is by Agnès Godard, a genius for creating atmosphere and mood, equally successful in the cramped environs where the sex for money acts are performed as well as in the beauty of the Parisian streets and the French rural countryside. The subtle music score by Jocelyn Pook is variations by a string quartet and harp and very well composed. The DVD gratefully includes and interview with Lifshitz and for once the information shared is extremely beneficial to the enjoyment of the film.

Because audiences in general have difficulty with trans/homosexual love scenes this film will probably never receive the recognition it deserves. But for those who long for the power of truly fine independent films, this film is as fine as they come - in story, in direction, in acting, in cinematography and, most important, in honesty. It is a jewel of a movie. Highly Recommended. Grady Harp

It was clear with "Come Undone" that Sebastian Lifshitz is a director very much worth watching. "Wild Side", despite its shortcomings, reaffirms his rare talents. His forte is in creating pensive, moody pieces, with a powerful and moving realism. This he does with great precision utilizing light and camera with far greater care than we have become used to. There is a sense of an artist at work. Added to this, he has an astonishing gift for evoking extremely moving and convincing performances from his actors.

The problem with "Wild Side" is that it is devoid of plot and has almost no character development. The mood is what keeps the viewer captivated. While this in itself is not unrewarding, a stronger storyline would certainly have added much. The film terminates suddenly and unexpectedly, usually signifying a lack of inner logic. It could have ended at any point with the same result.

The disparate trio of transsexual, bisexual hustler and Russian immigrant is observed in a totally non judgemental manner and with genuine compassion. This is the films true strength. While flashbacks furnish very sparse information about the transsexual's childhood, almost nothing of the remaining protagonist's backgrounds is revealed. Lifshtz's aim is not to try to understand these social outcasts and their aberrant behaviours but rather to connect us with them on a human level that goes beyond definition of gender are race.