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How sad is this?

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

The acting in this movie is really good.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

A film that should make people, who think there is such a thing as the 'gay community', think again. Stranger by the Lake is more a docudrama than a fiction film, for its setting, feel, action, and atmosphere is ultra-realistic. One hundred per cent filmed outdoors, with a cast which needed no wardrobe, it had the air of a nature documentary in which David Attenborough stumbles across a pair of gay men getting it on in the bushes, but instead of suavely narrating off-screen, being firmly told by the subjects of his voyeurism to go masturbate elsewhere, like the on-looker was. The story line is thrillingly Hitchcockian, complete with a shocking murder scene filmed in one take and from a far distance, but without a happy ending or release. But the real story is one of complete callousness and solipsism of all men involved, who have no regard or respect for the murder victim and blithely carry on as nothing had happened. As the main character said: "Life goes on." Eros and thanatos, sex and death, are closely linked in this film, and not just from the amount of unsafe sex that went on. Having a psychopathic killer who thinks nothing of getting rid of a clinging 'boyfriend' by casually drowning him is one thing, but one that thinks he can get away with multiple murders without any consequences due to the inability and unwillingness of the 'community' present at the lakeside to intervene or co-operate to solve the crimes, is an indictment. No names are known or mentioned until halfway through the movie, a familiar occurrence when you frequent gay cruising places or venues. I always thought how easy it would be for a murder to be committed at such sites without anyone, even witnesses, knowing anyone's name or business. The policeman in the film, incidentally the only person fully clothed, had the unenviable task of piecing it all together, and, even more importantly, he is also the Greek chorus commenting on the aspects of cruising culture that many gay men willfully ignore. Being held a mirror to your own culture can be shockingly revealing.

The good news first: If you are into men - Pierre Deladonchamps and Christophe Paou are quite sexy and bare it all - full frontal nudity throughout the flick.Unfortunately, two beefy guys are a lame excuse for the lack of a decent story line. Let's see: We have Franck, who obviously carries his brain in his dick. So he does what any homosexual would do after he witnesses the guy he has the hots for killing his lover: He digs him up and screws with him. Makes sense, doesn't it?We have the killer, Michel, who not only kills his boyfriend but in the course of the film also a Police agent. Now isn't he clever? The agent may have been stupid enough to return to the crime scene alone – but it's more than likely that he has a list of suspects in his office so when he gets killed, his colleagues will start to check whom he interviewed last.Than we have Franck's platonic relationship with Henri – he really seems to care about him. But this subplot leaves the impression that the writer just wanted to show that the character Franck is not entirely driven by his penis – and fill up time. Because in the end Franck's relation with Henri does not stop him from bonking a murderer. What sense does it make to show Franck's compassionate side if it's in the end still his wiener that rules?As so often with french films, there's no real end. We don't learn whether Michel get's caught, and if not, whether Franck finally wises up and terminates his dangerous liaison with Henri.Not very much for 100 minutes – which, by the way, appear much longer while sitting through this bore.And as for the full frontal nudity: If that's what you lust for, rent a porn.

I didn't dislike the movie. I even admire the lengths the actors went in the explicit sex scenes. But overall I think the director wanted really bad for it to last as long as it did even though the script does not have much to work on. I didn't need that shot of the car parking over and over again for example. I would have liked to know for how long Franck had had a crush on Michel for him to eventually say that he was in love. If we only see them on the cruising spot and obviously Franck had some experience it does not make sense for him to just fall in love with this guy and keep his secret. Why? I could also have used more Henri. Don't get me wrong, I really appreciate that Guiraudie allows the audience to come up with a sad story for him, but we could have had more conversations with Franck. Those talks were the soul of the movie and he obviously deserved that nomination to the Cesar awards. And then...the ending...come on! It's not an artsy film. It did need to provide some closure if the movie is not about people's connections but about the killer out there. At least it was another kind of tale.

Alain Guiraudie's film is highly disturbing, not so much for its frank portrayal of sexuality or in the violence of its ending, but rather in its representation of human imprisonment. The title is deliberately ambiguous: at the beginning of the film we think that straight man Henri (Patrick d'Assumçao) is the stranger by the lake, as he comes every to sit on his own, looking out across the lake without participating in any of the couplings that preoccupy all the other visitors. Although striking up a friendship with Franck (Pierre Deladonchamps), he always seems a lonely, alienated figure. As the action unfolds, however, we come to understand that every single man who comes to bathe by the lake is a stranger; their lives are strangely disconnected, dominated by cruising and casual affairs. Any attempt to develop a love-affair any further is rejected, especially by Franck's lover Michel (Christophe Paou). Structurally speaking, THE STRANGER ON THE LAKE comprises a series of repetitive shots of automobiles parked close to the lake, interspersed with shots of the lake itself and the bathers undertaking their daily rituals. The situation seems positively idyllic, but in this film it is represented as a form of imprisonment. No one, it seems, can give vent to their feelings; they can only participate in the accepted rituals. Hence Henri represents something of a subversive force - even though he doesn't actually do anything. Love in this film has been reduced to a series of casual affairs between strangers. The dialog is spare, almost inconsequential; the shooting-style slow, comprised of long takes; both of these cinematic strategies help to reinforce the confining nature of this world: no one says anything of any consequence (to do so would be dangerous), and no one ever does anything different. Repetition equals security; unexpected movement - as symbolized through fast cutting - is a threat to the order of this world. STRANGER BY THE LAKE is a powerful film, beautifully shot and performed.