Saint-Narcisse
Film Movement
The Stats
Video: 1080p High Definition
Audio: LPCM stereo (5.1 surround available in menu)
Subtitles: SDH
Buy it HERE from Diabolik or HERE from Vinegar Syndrome
by "Doc" Hunter Bush, Staff Writer and Podcast Director
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The Movie: 4.5 stars
With the caveat that some of the subject matter of this film may not be all viewers, Bruce LaBruce's Saint-Narcisse is quite a film. Boundary-pushing, gorgeously lensed, with a magnetic performance at its center, the film, like its auteur, is intentionally provocative. But beneath that deliberate shock are some layers that truly bear examining.
When disaffected and self-absorbed Dominic (Félix-Antoine Duval)'s aging grandmother passes away, she reveals that his mother, whom he believed died in childbirth, is in fact still alive somewhere in the town of Saint-Narcisse. Traveling to find her, Dom is told she is a witch and lives with another woman, who does not age, in a cabin outside of town. He also begins to think that a mysterious hooded figure that has been haunting his dreams may not be entirely the product of his imagination.
I don't want to spoil very much of Saint-Narcisse, though if you are familiar with the figure from Greek mythology, with whom the town's namesake saint shares a name, you may be in the ballpark of just some of the film's more eyebrow-raising moments. Suffice it to say, the film's salaciousness would run the risk of dominating discussion if the film itself weren't so impeccably well-made. Cinematographer Michel La Veaux used lenses and a lighting kit from the 1970s to achieve the look of the film, resembling something shot on 35mm film.
The performances are by and large, very good, but Félix-Antoine Duval is the standout. Known more for TV roles in his native Canada, Duval is riveting, projecting simultaneously a certain self-obsession and a complete lack of self confidence that makes each decision Dom makes feel revealing and borderline dangerous. As mentioned, the film plays with some (read: many) taboos, so as Dom develops an adversarial sort of sibling-esque relationship with Irene (Alexandra Petrachuk) the young lady who lives with his mother Beatrice (Tania Kontoyanni), the ol' eyebrows began creeping upwards once again.
Putting all the provocative content aside, Saint-Narcisse makes some interesting observations about the damage parental abandonment leaves in a person, what it's like to recognize one's self in someone else, and what learning to love them means about learning to love yourself. As a filmmaker, LaBruce is certainly confrontational and deliberate in his artistic choices, melodramatic though they may be, but they're not empty ones. He is asking questions about love in many and varied forms, and leaving the audience to ponder where they stand on each iteration.
The Packaging: 4 stars
This is your basic, good quality physical release packaging: sturdy case, double-sided cover. The interior image is a moment from the film where Irene confronts Dom with a shotgun as he showers outdoors. The included booklet features an essay from Finley Freibert which was very enlightening about some of the imagery chosen in the film, and in some cases, its specific subtext within the gay community. Being neither especially Catholic nor especially gay, I was unaware of the layered meanings behind the inclusion of St. Sebastian for instance, which probably influenced the decision to make him a part of the narrative.
There is also a limited edition slip cover version available, designed by Adam Maida, which features an embossed silver foil zipper, referencing The Rolling Stones' famous Sticky Fingers album cover designed by Andy Warhol.
The Video: 5 stars
This looks absolutely tremendous. The aforementioned imitation of 1970s visuals is a very strong choice, and one that was achieved very thoroughly. There's a depth to the colors and shadows that's just so magical and really feels like it exists out of time. The greater palette of the piece is predominantly made up of autumnal colors; browns and buttery golds, with overcast skies, and some occasionally shockingly vibrant green foliage. Even in the occasional more dimly-lit moments, the film never felt like it lacked visual detail and overall the shadows had appreciable depth to them without fully devouring the backgrounds.
The Audio: 5 stars
As with the video section, I was impressed with the audio overall. There's nothing especially dynamic to tax my three-channel soundbar, but the dialogue was clear throughout. The music and score, which at times features Gregorian chants, distorted church bells, or in one notable moment some extremely wild trumpet stings, is very well balanced and placed to not compete with anything else for your ears' attention. Similarly, the brief motorcycle scenes came through excellently and gave a feeling of the dynamic size and shape of the mix.
The Special Features: 4.5 stars
The special features on this release are slim, but they at least offer a fairly comprehensive commentary track from writer / director Bruce LaBruce, which helped me more fully understand the tone of the film. With something so deliberately designed to push buttons, knowing that the filmmaker isn't doing it for it's own sake, and has greater ends in mind really allows the film to land. I personally don't understand the implied appeal of the Slates feature, which is just a collection of the slates from shooting the film, so if anyone can illuminate me a bit about that, I wouldn't mind.
- Commentary by director Bruce LaBruce
- Deleted Scenes (3:34)
- Slates (1:02)
- Saint-Narcisse trailer (2:12)
In Summary: Recommended
I know I've banged this particular drum a few times, so what's one more: Saint-Narcisse might just offend some more prim and proper film enjoyers, but if that doesn't describe you, I heartily recommend it. Gorgeous visuals, magnetic performances, and a heightened melodrama all combine into a release that's ultimately very satisfying.
Bruce LaBruce knows what he's doing, and exactly how far to push events to keep them in the sweet-spot where things are exciting and novel without crossing the line into distasteful or excessive. If your average Nunsploitation film doesn't leave you clutching your pearls, I think Saint-Narcisse will be just fine.
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