120 BPM

First premiered at Cannes where it won a Grand Prix, it's an impotant story of AIDS epidemic throughout the 90s in Paris and the actions taken by ACT UP organization founded to fight the epidemics.

This film does a great job at showing the activism at its thriving and not so thriving stages and introducing us to the stories of people until, at some point, a romance takes place while movie doesn't loose its quality and starts balancing two narratives.

Great casting, directing, sound choices. I will be happy to see two main actors in many new films waiting to see the light of day. They are proven talented and capable of taking demanding roles like ones showed here.

I noticed some unusual and smart ways of using sex scenes to deepen the background of the story, the story of one, also the one of the many.

Techo music was the music of the epidemic, 120 beats per minute, but at some point, heartbeat dismiss the techno and takes over, while the blood river flows though the city of Paris.

(120) Beats per minute is a great french movie which deals with the AIDS epidemic, set in France in 90s. A must-see film. I think probably one of the best movie of the year. Awards : "Grand prix" and Queer palm of Cannes film festival 2017. So, talk about it with your (girs/boy)friend(s),parents and even pets. Enjoy this movie ; )

An intelligent yet visceral film about the gay community in '80s Paris, which starts brilliantly – focusing on the protests and meetings of Act Up, a group of guerrilla AIDS activists – before turning into a film about a man dying of the illness.

No matter how compassionately, credibly and intimately it does that, segueing from a film about ideas to one about the individual, contrasting the character's dynamism and beauty with his pain- ravaged impotence, and showing the body – not the city – as the battleground, it's ground we've covered countless times before, and (at the risk of sounding awful) it made the movie increasingly tedious.

At its best, this confrontational, unsentimental but humanistic film has unexpected echoes of Melville's Army in the Shadows, which looked at action, division and necessity within the French Resistance, and I understand why it included so many sequences of illness and sex, but those elements don't seem as interesting as the story it started to tell. When it returns to it in those final moments, loaded with the suffering and sadness of what's gone before, the results are admittedly astounding.

Nahuel Pérez Biscayart is absolutely terrific as Sean, a founding member, Mesut Őzil-alike and all-round complex human being, first introduced to us justifying the fact that he and his mates have handcuffed a government official to a post during his team's PowerPoint presentation.

A story with a particular historical moment in mind has been rendered timeless. A random first generation Gameboy generates a temporal whiplash, as the film's events are portrayed as contemporary catastrophes. Silence equates to death, and the team meeting in a college lecture hall has dwindling numbers, yet deafening shouts.

A prejudicial plague scorches France, bringing an already tight-knit community into a blood brotherhood. ACT UP is a guerrilla group full of eventual corpses. The HIV epidemic has threatened their love and survival. Pharmaceutical companies have cubical indifference as antidotes are sluggishly distributed by financial logistics.

As the non-violent vigilantes face just as many internal conflicts as press-generated woes, their operations grow in scale and creativity. Their weekly conferences have an intentional cadence complete with respectful snaps, hisses, and hand signals designed to facilitate the mutual understanding that has gone extinct beyond the university walls.

Sean is one of he founding members, and has some of the worst test results. He is the loudest in any given demonstration, and celebrates harder than all his peers. ACT UP is Sean's final lifeline, and his involvement resounds as a funeral dirge among a thunderous parade.

Campillo has delivered another dialogue driven barrage of human desperation. The sprinkling of establishing shots offer a reprieve from the claustrophobic disputes between the positives and the businessmen impartial to death. An important angle to an understated tragedy that shaped legislation in the most vital ways.

This film remains timely despite it's historical perspective of French Protesting to advance HIV research and viable medical treatment. Funding is always precarious as politics, stereotypes and access to prevention remains limited almost 40 years later. Definitely a film to see.