Cannes 2013 Review – Les rencontres d’après minuit

Yann Gonzalez’ highly stylized debut is a kaleidoscope of so many influences, from Jarman to Fellini to Araki, and ends up like the lovechild of Clue and The Rocky Horror Picture Show. It’s a demented love song to the '80s in its music (by the brilliant M83), clothing (one character, The Slut, wears an off-the-shoulder t-shirt with pink and black isosceles triangles) and a brutally sparse set that could have come from a deleted scene in Blade Runner.

We open with Ali (Kate Moran) screaming for her lover Matthias (Niels Schneider) as she is whisked away by a mysterious biker. It’s a fever dream of sorts and the type that foreshadows the future. What is actually happening, though, is that Ali, Matthias and their transvestite maid Udo (Nicolas Maury) are planning an orgy for the evening, full of characters with names like The Stud, The Teen and the aforementioned The Slut.

Filled with more camp and kitsch than John Waters could throw a stick at, Les rencontres d’après minuit  is a delicious slice of fun and gauche awfulness, in the best way.