For Sébastien, there is no problem that cannot be solved by the opening of his wallet and under the circumstances Rémy swallows his pride and ideals by accepting help from the son he long ago abandoned. Sébastien dutifully makes his father very comfortable in his dying days through bribing the trade union officials for a private room to the arrangement of administrations of heroin by Rémy’s former lover’s daughter, Nathalie. In addition, Sébastien’s sister and only sibling is circumnavigating the world by boat and so, upon his mother’s request, he flies out from London with his fiancée to be at the bedside of the father he despises. Sébastien as an international banker in London chose a career that is much opposed to the socialist ideals of his ailing father. Rémy’s son, Sébastien, arrives having received a phonecall from his mother. A multitude of wires hang down from the ceilings, patients line the corridor walls laid upon hospital trolleys, and the hospital itself appears to be under the command of an obstinate trade union. Rémy spends the majority of the film in a Quebecois hospital, which is introduced to the audience as more war zone than safe haven providing harsh comment on the state of the Canadian Health system. The film itself, despite dealing with the heavy themes of cancer and death, falls into the comedy genre and its marketing tagline reads, “A provocative new comedy about sex, friendship and all other things that invade our lives” (ibid).
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Rémy is a divorced French–Canadian father of two in his sixties and is played by Rémy Girard, who as a result won a Genie Award (the Canadian equivalent to an Oscar) for Best Performance in a Leading Role (2003) (The Internet Movie Database). As his friends and family gather around him, the audience is told about Rémy’s life, while watching it through his slow inevitable death. The following comparative article will focus on Les Invasions barbares ( The Barbarian Invasions) where Arcand reassembles his cast, a group of university lecturer friends, who are familiar characters from the first film, and places them around the bedside of their cancer-riddled companion, protagonist Rémy. In 2007, Arcand released L’Âge des ténèbres, to form part three of what is now known as his social commentary trilogy. Les Invasions barbares, an Oscar winner in the category of Best Foreign Language Film (2004), comes as the second part of the director’s earlier work Le Déclin de l’empire américain (1986) (The Internet Movie Database). The above is taken directly from the script of highly acclaimed French-Canadian writer-director Denys Arcand’s Les Invasions barbares (2003) and will be shown to link the character of Rémy to Julia Kristeva’s theories of the abject as presented in Powers of Horror (1982). “Oh, the rivers of sperm I spilled dreaming of her thighs!” (Rémy, Les Invasions barbares, 2003). To begin the discussion, an introduction to the film texts is essential. Specifically, the following article concentrates on representations of French-Canadian and Mexican adolescent masculinity as portrayed on screen in Alejandro González Iñárritu’s Amores perros (2000), and Denys Arcand’s Les Invasions barbares (2003). With the primary understanding that cinema as a visual and aural medium both presents and represents significant commentary on culture, politics, gender and sexuality, the comparative examination that follows should highlight for the reader how connections between adolescent masculinity and monstrosity occur on the cinema screen. The focused study and textual analysis of film texts allow for necessary discussion on important issues that are sometimes absent or under-represented in other areas of political culture.
This article will discuss the physical, psychological, and behavioural metamorphoses of the heterosexual adolescent male in particular as he is shown in cinema outside the horror genre.
The monstrous-masculine then forms the background for an investigation into the connections between monstrosity and masculinity as is traceable in contemporary cinema. The term “monstrous-masculine” is one that is therefore derived from Creed’s thorough analysis of the “Monstrous-Feminine” (Creed 1993), but refers to the opposite, that is the interpretation of masculinity and the screened male body. In her 1993 book, The Monstrous Feminine – Film, Feminism and Psychoanalysis, Barbara Creed heavily relies on Julia Kristeva’s theories of abjection in her detailed study of femininity and the female body in horror cinema (Creed 1993, Kristeva 1982). University of Dublin “Monsters are meaning machines” (Gelder 6).