The film goes from biting satire to broad farce and back as Alain Guiraudie fills it with both social observation and ludicrous incident.
It’s a provocative juxtaposition for Dry Wind to stage its queer kinkfest at the epicenter of the land of Bolsonaro.
It changes gears whenever one is lulled into believing that it has finally settled into a recognizable narrative pattern.
Guiraudie’s latest represents a lot of the same interests that were woven into Stranger by the Lake.
Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn’t discriminate.
Guiraudie spoke of his ’70s fixation, his attraction to the mythical, and Stranger by the Lake as existential study.
Having built up the tension to a breaking point, Giraudie doesn’t let down the audience.
Xavier Dolan reigns in his often flagrant use of formalism without sacrificing his confidence as a filmmaker.
Alain Guiraudie’s film portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself.
Alain Guiraudie supplies a heady mix of social realism and intensely muted sexual desire.