Until now, it is the best role is has ever held, and he admits it too...Everything in this movie has been planned. The contrast between him and Jacques Godin is remarkable. All the contrasts: the face, bodies, their age, their voices and the way they move around. Godin being sure of himself, in control, patient, aggressive, frustrated or bored.

Roy plays in an another register: nervous, anguished, on the edge of a nervous breakdown, on the defensive, pursued, often hurt, afraid like a caged animal or totally lost somewhere in a dreamland. But always present during ecstatic scenes with Claude in his mind, living the flash backs as a final reunion. In a musical crescendo, we are carried away with him so easily, like magic. He must be very proud of that scene. No doubt, that moment must have been very hard on him and his total investment in it has produced unparalleled results.

Again that scene is unique, because it deals with a subject that nobody would like to talk about, specially in a movie; perhaps in literature or poetry, but never on the screen. The magic moment, the ecstasy imprinted on the film. I am trying to imagine the actors that had played this scene on the stage. I know they are terrific actors, but they did not have neither Roy's frail innocence nor his physique. Roy is himself. At the limit, as I already said, he is one of those beings, who can sublimate their sex in the image they project, in keeping most of their dominant caracteristics . Although he is a real man, he is also able to express and very successfully, the sensibility of his counter part. When he makes love with Claude, it does not matter if it is a man or a woman. The person that he is holding in his arms is a human being. This is what is so special. It is the passion between two human beings.

In a most delicate frame, Beaudin's demonstration is brilliant. Sensual but without vulgarity, never out of place. Here, special thanks to Mr.Vamos, in charge of photography, and also for the sound technician. Their cries, their sighs, their breathing. Never in my entire life as a movie spectator, have I witnessed such an art to say and show a sublime scene that nobody had dared to do before. Intimate pleasure. More intimate in the exchange of their breathing than in their entire bodies in motion. It is like exchanging souls. Roy will often use his breathing when playing a part, as well as his penetrating look. In both instances, he can succeed in modulating his breathing, and give you a velvet look or a black eye full of rage.

I would like to mention the excellent communication that seem to exist between Roy Dupuis and Jean Beaudin. A québécois transfer of Brando/Kazan relationship.This creative link does not happen very often between actors and directors. Two persons blending their talent to create a unique and outstanding work where one is perfectly molded to the other. Casted in the same mold by the director, the actor will give the character the proper color and light . From this chemistry, the best has to come out.

Beaudin is directing Roy so naturally, within in own instinct, and to add a little more, I would say that he gets everything out from him in a fantastic way. I am surprised to see Roy being able to follow Beaudin without failing him. In the hands of Beaudin, he becomes available, generous and knows how to abandon himself, finally giving way to a character even more natural than nature itself. Both Yves and Ovila (Les Filles de Caleb) are the products of an exceptional collusion. Tridimensional characters. Most realistic. It is no more theatrical nor more a picture or an image: it is real life. A very rich reunion. Let's hope that they will meet again, so that we can enjoy once more the combination of their talents.

By diversion, let's mention here a special presence which leaves like a watermark all along the movie. The Montreal summer.

Even in black and white, our summer is heavy and luxurious. Enjoyable. The craziest things are bound to happen in that short and ecstatic season, and right here in Montreal. Following long period of gray and drab months, then come the blue, luminous and cold months. And all of a sudden come out the white and rose ones accompanies by a very mild green to end up most of the time in a magnificent summer. The days are hot and humid, a tropical climate invades us. Everyone will recall legendary thunderstorms, like the ones of July 14, 1987 or the one of July 5th, 1999. We love summer and we celebrate it from one Festival to the next one, feeling finally free. We enjoy it, although it is terribly hot and humid, that reminds me of the same feelings I have experienced during the first minutes of Being. The soft and warm summer nights, often accompanied by a light breeze that are caressing all creatures. In the film sequence when the curtain in Claude's bedroom, sweeps slowly over the lamp, Yves' shirt in the park where they first met, this is rare cinema when we are able to feel the presence of the wind. Not violent, but soft as a breeze. I always enjoy theses scenes, time and time again, because they make me very happy; a souvenir of a caressing summer breeze and a suave perfume full of the earth motherly smell, the pavement, the skies surrounded by all these beautiful flowers sleeping in gardens or on balconies. Québec summer is a three months trip, sometimes two or even only one month. We spend the rest of the year, reminiscing the summer past and are longing for the next one to come. Being has also achivieded this. To immortalize our wild and tempestuous summer. The movie is a reference to our collective desire, similar to Yves' feeling to want to crystallize those voluptuous instants with Claude, hoping to live for ever, a fleeting moment of happiness.