Moustroll Good movie but grossly overrated

CommentsXp Best movie ever!

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Janis One of the most extraordinary films you will see this year. Take that as you want.

Oscar von Seth The title characters in "Théo et Hugo dans le même bateau" meet in a dark room and connect instantly. Then they stroll the streets of early morning Paris together. From its raunchy, explicit beginning, this charming film evolves into a sweet and somber romance, echoing of Richard Linklater's "Before Sunrise"-trilogy. Consequently, Théo's and Hugo's story comes across an unforgettable and ultimately very charming affair.

Benjamin Gafaro (ben-gafaro) CONTAINS SPOILERS!I really love this film and I dare to say is the best queer movie I've seen in 2016. The plot is simple but the execution is marvelous. The beginning introduce the two main characters in one of the best orgy scenes in the contemporary cinema -yes, with frontal male nudes and explicit sex, but in an artistic and not (so) pornographic way- and then, we assist a very long ride across Paris's streets (I just love movies that show you a city in a simple and non-touristy way, like Before Sunrise/Sunset/Midnight trilogy) with a huge revelation that create the best twist in the movie… and are barely 4:45 a.m. The next hour is full of tension, anxiety, humor and existentialist revelations with the word VIH+ in center of the conflict between Théo and Hugo. The both actors has a chemistry that really you can feel it in the entire movie, with the presence of a few amazing incidental characters that portrait in some ways the social features of Paris. The long conversation that keep Théo close to Hugo has a very theatrical tension that's ends in a lovely and uncertain way ("Then what?"). Definitely, directors and writers Olivier Ducastel and Jacques Martineau knows how to make a romantic tale with the real and actual issues of the gay male community.

wolfsg The first 20 minutes is pure pornography. It is not done distastefully but it is still pure pornography. While that scene is essential to the entire story, it could have been shortened to a lesser 5 or 10 minutes of lesser explicit sex without jeopardizing the story line. But if you are turned on by gay orgies then you have nothing to complain.But it is after that marathon sex scene that the film took on a completely substantial value. The performance by the two young actors is good but what makes this a masterpiece is the overall story line and flow. It is a real-time film, meaning the time frame of the story being depicted is the real time frame of the length of the film. It really draws you in - if you allow it to. In typical French fashion, it's the undercurrent tension that grips you rather than anything in-your-face. On a deeper level it reminds me a little of Crime and Punishment (Dostoyevsky), not in the nature of the plot but in the subtle yet strong alternating waves of emotions: between morbid fear and banal carefreeness; between romance and anger; between naive innocence and bitter reality; between hope and despair, all happening with the dark, ordinary yet enigmatically charming Paris, as the stage (you won't see any glimpse of the Eiffel Tower, nor the Sacre Coeur nor the dirty ghettos - you see the real Paris ordinaire). It is a plot that lends itself perfectly to French cinematography and style; a story that screams to be given the very French treatment of film making.

euroGary Hugo (the handsome François Nambot) and Théo (Geoffrey Couët, who has a little of Dirk Bogarde around the eyes) meet, in a highly-explicit fashion, in a French sex club. After they put their clothes back on and head into the Paris night, their conversation about how their sexual encounter had a deeper meaning than would normally, given where it took place, be expected, indicates the start of romance. But that nascent love affair comes under strain when the confession of a mistake by one of the young men prompts a revelation from the other.Leaving aside a few supporting characters (and plenty of non-speaking though extremely active extras in the club scene), this is pretty much a two-hander film and as such needs good central performances. Both men are competent; although there are times when his delivery is a little wooden, Couët believably handles Théo's sudden mood swings, although I can't help wondering how Nambot, who seems the more accomplished actor, would have played them. Paris by night - even the grottier parts of it in which much of this is set - looks full of character and provides a good backdrop to the young lovers' meandering conversations.And that opening scene? Well, call me shallow, call me a hypocrite, but I prefer my nudity non-saggy, so it is a relief when the camera focuses on Nambot and Couët - although not hunks, they're definitely better-toned than many of the sex club's patrons! (But personally, if I was going to be filmed completely nude except for my shoes and socks, I'd wear nicer socks.)