The life of wealthy businessman Boris takes a turn when his wife Beatrice, a high-profile politician, falls into a deep depression. After a mysterious stranger accuses him of being responsible for her condition, he re-evaluates his life choices and tries to become a better husband, father and son.
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If it doesn’t cohere as neatly as Curling and Vic + Flo Saw a Bear, Côté’s eye for an inventive composition remains finely tuned, and Hyndman, who recalls Mark Strong by way of Tom Noonan, is a compelling presence.
Beautiful to look at, the film showcases Côté’s talents at building tone and theme through images and sounds. Not as relatable as his previous films, Boris sans Béatrice challenges rather than caters to audience preconceptions – for better and for worse.
This film is blessed with the person you most want to go to dinner with, and the person you never want to go to dinner with. The word ‘comedy’ never crossed my mind while watching as fascination with a misogynist unable to get enough of himself takes over.
Lovely for Valentine Day.
I am certainly more of a fan of his hard-to-pigeonhole hybrid films, but Denis Côté's narrative features proper are also pretty delectable. Boris is yet another humble triumph. Extreme formal rigour. An always tuned-in use of the frame. There is a real askance employment of irony in a Côté, and something radical in terms of how it situates itself vis-à-vis any read you might get on its intent. Happily flummoxing.
A delightfully creepy tone infused with wry humour and perfect casting anchor this film firmly in the 'Lost Highway' world. Boris feels warmer however and the assured storytelling highlights the director's sympathy towards man and his easy complacency. 5 stars
This might be as close as Cote gets to playing straight, which might just undervalue this film's strangeness. What begins as a nihilistic affront to one man's sense of worth bizarrely becomes 'It's a wonderful life' in a spirit of empathy rarely seen nowadays. It feels like a parable, and Hyndman in particular is excellent. Not much Lavant but we take what we can get.
The unique and meticulous style of Cote is on full display with this satisfying story of pride, affluence and the questioning of 'self'. Performances are stellar especially James Hyndman whose anguish and prideful behaviour drives his character throughout. Well written with excellent production values. Bruce LaBruce makes an amusing cameo.
Whereas in Lost Highway, the mystery character acts as a truly disruptive force, in BwB the enigmatic intruder operates more like Pinocchio's pedantic talking cricket, chastising the protagonist's narcissistic, prideful behavior. Cote's didacticism weakens an otherwise interesting premise. BwB is just the story of a family's intervention with an entitled, egotistic 1%er. The sum is less than its parts.
Gods intervened in the affairs of humans in the Greek myths. The myth of Tantalus shows us what happens to people with excessive pride. God doesn't interfere anymore. We have free will, so we can be the best bastard we want to be. The gods don't come to our houses and say "Shape up!". There isn't a person alive who doesn't need to shape up. This guy might be a jerk, but of all the people out there, he is an amateur.
2,5 - L'emotività non può che scivolare anch'essa nelle crepe della catatonia integrandosi con l'altolocata sterilità degli ambienti scansionati, dove Boris e Béatrice cercano di rianimare un rapporto incrinato e logoro, i cui unici "pezzi di vita" sono intrappolati nella grana analogica di frammentarie immagini-ricordo... http://visionesospesa.blogspot.it/2017/06/boris-sans-beatrice.html