Love and Human Remains
Director Denys Arcand tries to convince us that sex and AIDS and commitment is some sort of a problem in Canada when we all know damn well that nobody is having sex up in Canada because it's just too damn cold.
As if we all haven't been beaten over the head with the overworked theme of "love equals death in the age of AIDS." Director Denys Arcand tries to convince us that sex and AIDS and commitment is some sort of a problem in Canada when we all know damn well that nobody is having sex up in Canada because it's just too damn cold. All they do is argue about who's going to get up to turn up the heat and whether they're going to argue about it in French or English. Canadians also spend a significant amount of their time thanking the Canadian Lord and Savior for inspiring Michael J. Fox to emigrate to the states.
"Love and Human Remains" is best described as a "family values bonanza": You've got male homosexual sex and female homosexual sex and heterosexual men experimenting with homosexual men and heterosexual women experimenting with homosexual women and, to provide diversity, a telepath and a serial killer.
Arcand takes the "everything but the kitchen sink" approach to symbolism. You've got the ten year old who walks by every time a character goes through a different phase in his relationship with his transvestite lover. You've got the cat that sits outside the window of an apartment all through the film and then is finally let in at the end, symbolizing, of course, that the characters have accepted love into their lives. The only thing missing was a nice Barry Manilow or Michael Bolton song at the end to finish things off proper.
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