Q&#;A with &#;Saint-Narcisse&#; Director Bruce LaBruce
Bruce LaBruce’s latest movie is a witty comedy about a handsome new man, Dominic (Félix-Antoine Duval) — the opening shot is of his crotch — who goes on a journey of self-discovery (literally!) after his grandmother dies. He arrives at the address where his mother, Beatriz (Tania Kontoyanni) — long thought defunct — lives, and in a symbol of rebirth, is naked when he meets her. Their reunion is joyful, but her partner, Irene (Alexandra Petrachuk), is wary of the stranger. Before long, Dominic also discovers he has a twin, Daniel (Duval in a double role), a young monk at a local monastery. Their connection leads to an attraction — and yes, twincest! — but Daniel, is being held as a sex slave by Father Andrew (Andreas Apergis) who worships Saint Sebastian.
“Saint&#;Narcisse” depicts Dominic as he tries process everything and everyone he confronts. Moreover, his self-love provides much of the film’s humor; Dominic cannot pass by a mirror or see his reflection in a pool of water without admiring himself. Duval gives an unselfconsc
Saint-Narcisse
"The filmmaking isn’t only ravishing to look; the writing and narrative construction include become a little more sophisticated, too (). A wild ride that’s enjoyable in all its B-movie glory while also titillating the intellect."
Boyd van Hoeij, The Hollywood Reporter
"A sleazy, incestuous, soapy good moment Saint-Narcisse is a welcome piece of provocative show, existing as its hold weird and sincere comedy for those willing to take the ride. "
C.J. Prince, The Film Stage
"This totally twisted tale lets director Bruce LaBruce uphold his title as Canada’s King of Kink. Saint-Narcisse has a hard-on for our self-obsessed selfie customs. It’s a delightfully blasphemous romp for a generation of kids reared on notions of “me, me, me.” "
Pat Mullen, That Shelf
"LaBruce’s post-Stonewall, post-Warhol sensibility never shies away from transgression, which is why he has made the bravest, most emotional films about gay experience by any artist in the Western Hemisphere."
Armond White, National Review
"Director-writer Bruce LaBruce has long been famous as th
Saint-Narcisse
Dominic (Félix-Antoine Duval), the protagonist of Canadian writer-director Bruce LaBruce’s latest cinematic provocation, is a new Narcissus in his self-adoration. The production begins with a scene in which he has fiery sex with a woman he encounters in a laundromat, pleased that a crowd of fascinated passersby can observe the action through the front windows. He lets no reflection of himself go by without admiring it, and though the year is , he takes what amount to selfies, using a Polaroid camera rather than a smartphone.
Dominic lives in Quebec with his elderly grandmother (Angèle Coutu), who encourages him to find a girl and own a family, but after she dies he learns that she has been keeping a confidential from him: a hidden cache of letters reveals that his mother Beatrice (Tania Kontoyanni) is not dead—as he was told by grandma and his late father—but alive, and so he sets off on his motorcycle to find her.
Considered a witch by the locals, she lives in a cabin outside the titular village with a pretty young outdoorswoman named
Saint-Narcisse
"The latest from Bruce LaBruce, Canada’s reigning “King of Kink,"" follows Dominic, a young man with a fetish… for himself. Nothing turns him on more than his reflection, with much of his second spent taking Polaroid selfies. When his loving grandmother dies, he discovers a deep family secret: his lesbian mother didn’t depart in childbirth and he has a twin brother, Daniel, raised in a remote monastery by a depraved priest, held captive against his will! The authority of destiny brings together the two beautiful, identical brothers, who, after being reunited with their mother Beatrice, are soon embroiled in a blasphemous web of sex, revenge and redemption. Put in the early s and the afterglow of sexual liberation, SAINT-NARCISSE is a love letter to the psychosexual thrillers of that era. Elegant visuals are combined with LaBruce’s notorious punk provocations in “a wild sit on that’s enjoyable in all its B-movie glory while also titillating the intellect” (The Hollywood Reporter)."