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Yawn. Poorly Filmed Snooze Fest.

hyped garbage

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

This story has more twists and turns than a second-rate soap opera.

O'k the guys are cute... but what happened? I hate sub titles, but usually they at least let you know what is going on. They are few and far between in this movie, because there is so little dialogue during important scenes. Lots of talking when nothing is going on or they are just sitting around shooting the breeze. Then the movie jumps from the beginning to the ending to the middle. It jumps from winter to summer back to winter then a different summer....! I liked the story and the actors were very good, but the director or editor forgot to tell US what was happening. Too many holes. We had to guess most of the time. This isn't a spoiler cause I am asking a question... at the end, why did they break up... they lost me there some place. They are supposed to write dialogue so that we can follow the story, not get lost. Good movie poorly executed!

'Presque Rien' ('Come Undone') is an earlier work by the inordinately gifted writer/ director Sébastien Lifshitz (with the collaboration of writer Stéphane Bouquet - the team that gave us the later 'Wild Side'). As we come to understand Lifshitz's manner of storytelling each of his works becomes more treasureable. By allowing his tender and sensitive love stories to unfold in the same random fashion found in the minds of confused and insecure youths - time now, time passed, time reflective, time imagined, time alone - Lifshitz makes his tales more personal, involving the viewer with every aspect of the characters' responses. It takes a bit of work to key into his method, but going with his technique draws us deeply into the film.Mathieu (handsome and gifted Jérémie Elkaïm) is visiting the seaside for a holiday, a time to allow his mother (Dominique Reymond) to struggle with her undefined illness, cared for by the worldly and wise Annick (Marie Matheron) and accompanied by his sister Sarah (Laetitia Legrix): their distant father has remained at home for business reasons. Weaving in and out of the first moments of the film are images of Mathieu alone, looking depressed, riding trains, speaking to someone in a little recorder. We are left to wonder whether the unfolding action is all memory or contemporary action.While sunning at the beach Mathieu notices a handsome youth his age starring at him, and we can feel Mathieu's emotions quivering with confusion. The youth Cédric (Stéphane Rideau) follows Mathieu and his sister home, continuing the mystery of attraction. Soon Cédric approaches Mathieu and a gentle introduction leads to a kiss that begins a passionate love obsession. Mathieu is terrified of the direction he is taking, rebuffs Cédric's public approaches, but continues to seek him out for consignations. The two young men are fully in the throes of being in love and the enactment of the physical aspect of this relationship, so very necessary to understanding this story, is shared with the audience in some very erotic and sensual scenes. Yet as the summer wears on Mathieu, a committed student, realizes that Cédric is a drifter working in a condiment stand at a carnival. It becomes apparent that Cédric is the Dionysian partner while Mathieu is the Apollonian one: in a telling time in architectural ruin Mathieu is excited by the beauty of the history and space while Cédric is only interested in the place as a new hideaway for lovemaking.Mathieu is a complex person, coping with his familial ties strained by critical illness and a non-present father, a fear of his burgeoning sexuality, and his nascent passion for Cédric. Their moments of joy are disrupted by Cédric's admission of infidelity and Mathieu's inability to cope with that issue and eventually they part ways. Time passes, family changes are made, and Mathieu drifts into depression including a suicide attempt. The manner in which Mathieu copes with all of these challenges and finds solace, strangely enough, in one of Cédric's past lovers Pierre (Nils Ohlund) brings the film to an ambiguous yet wholly successful climax.After viewing the film the feeling of identification with these characters is so strong that the desire to start the film from the beginning now with the knowledge of the complete story is powerful. Lifshitz has given us a film of meditation with passion, conflicts with passion's powers found in love, and a quiet film of silences and reveries that are incomparably beautiful. The entire cast is superb and the direction is gentle and provocative. Lifshitz is most assuredly one of the bright lights of film-making. In French with English subtitles. Highly Recommended. Grady Harp

Another French seaside relationship story with an incidental background of family hardship.As with the others it's well acted, scripted, directed and interesting to watch.Other than character interest, it's also fairly devoid of any emotion or plot(unless you have a strong interest in gay french holiday romances).French cinema seems prolific in this respect, probably reflecting their otherwise staid perspective on non-holiday relationships, so if you liked this there's plenty more where it came from.

It is never my style to defend a movie just because people disagree with me. Yet looking through all the comments that slam the movie for having no plot, and even those who like the movie are unable to provide any solid reasons other than the encrypted deeply moving or honest, I feel the need to give my two sense. So bear with me.Let me first say that I don't think Presque Rien is the best gay movie ever made. Looking at the cover with two naked young guys, I expect it will offer little more than "tasteful" eye candy. But I came away feeling this is a lot better than I expect, and for the exact reason so many other complain about, the plot.The story unfolds with Mathieu, after suffering from depression; revisit his family summerhouse to pull his life together. It is the same place where two summers ago he met his first boyfriend, someone he just broke up with. Upon arriving, Mathieu pick up a wild cat that's roaming on the street. In the flashback, when Mathieu arrives his family summerhouse for vacation he "picked up" a wild child, Cédric, who basically lives on the street. Instantly we can draw the connection between Cédric and the cat: Mathieu said to the cat "You are cute but you stink". It reminds us in the flashback how he rehearses his introduction line to Cédric to the mirror: "I must admit you are pretty cute". After Mathieu bathed the cat he said you are my little prince charming, just as the carefree and attractive Cédric would be to any gay teenager falling in love for the first time. But there is the less fortune comparison: like the cat, Cédric, as much as he wants Mathieu, is unable to reciprocate the kind of affection Mathieu needs in a relationship.There is one key scene I find surprising that no one mentions is when Mathieu and Cédric visited a historic ruin. Architecture student Mathieu is interested in reading the background of the site but Cedric is only interested in a private intimate moment together - to him it is just a bunch of rock. Mathieu complained that Cédric has single track of mind and he doesn't like it when Cédric is like that. It is a telling sign of the difference between the two and how problematic the relationship could be. However, Mathieu (and many audience I bet) are so charmed by the good-looking and sexually uninhibited Cédric that he (and us) are blinded to the fact that Cédric is unable to bond with Mathieu in a non-physical way. Recall that Cédric was totally oblivious to any of the Mathieu's emotional problem when Mathieu's psychiatrist asked him, except that Mathieu is not interested in having sex in the past month, again only in a physical way.The ending, so many of the comments have criticized, is actually very satisfying for me. While it seems contrive that Mathieu should reach out for his boyfriend's ex, it is not hard to understand what draws him to Pierre. Cédric doesn't believe in family and would rather be a renegade than being introduced to Mathieu's father. But outside of his house, we see the domestic Pierre helping out his mother in setting up dinner. Mathieu himself longingly browsed through the family photos, including his pain-in-the-ass sister, the first thing he arrived his family home in years. When Mathieu asked Pierre why he didn't have his own place, Pierre as-a-matter-of-factly said "Why? To be All Alone?" The Mathieu who impulsively moved in with Cédric to a total strange city can certainly understand that sentiment. (When Pierre asked Mathieu if he think he is lame, Mathieu replied that he thinks he seems `really together')The movie concluded with Mathieu and Pierre coming across a lonely child in the beach (presumably his dad is also present but he was intentionally excluded from the frame). Pierre showed his paternal side by teaching the kid how to play football/soccer as Mathieu knowingly looking on. In the flashback, the naive and love-struck Mathieu was totally captivated by Cédric as he sang and danced in the buff at the beach, the post-depression, wiser and more mature Mathieu (something Pierre didn't fail to notice), once again sitting on a beach, now saw the side of Pierre that he knows he wouldn't find in Cédric.I don't dare to say my interpretation is THE interpretation. But I hate to see people dismiss scenes as pointless and boring, went on to accuse the movie has no plot and provides no answer when the very scenes they dismiss provide the clues they are looking for. For that, I feel I have to put down my view.