Léolo
Directed by Jean-Claude Lauzon
Canada, 1992
Jean-Claude Lauzon’s semi-autobiographical Léolo is not for the squeamish. This isn’t horror, blood and guts stuff. It’s a film with a smell and a texture.
Leo Lauzon (Mazime Collin) lives in a crowded Montreal apartment with his largely insane family, but spends most of his time in his imagination as the Sicilian Leolo Lozone, bizarrely conceived by a tomato, and entirely in awe of the world around him.
Léolo is obsessed with body parts and secretions. There’s an emphasis on liquids, fecal matter, and colossus bodies. Characters eat, things squish and slide. It’s a mélange that sometimes verges on the uncomfortable, but is always tangible – it has the feeling of concrete memory, not the stuff of distant nostalgia.
One bit of Léolo’s voiceover sums the film up nicely: “I was always divided by me desire to vomit and my desire to jerk off.
Directed by Jean-Claude Lauzon
Canada, 1992
Jean-Claude Lauzon’s semi-autobiographical Léolo is not for the squeamish. This isn’t horror, blood and guts stuff. It’s a film with a smell and a texture.
Leo Lauzon (Mazime Collin) lives in a crowded Montreal apartment with his largely insane family, but spends most of his time in his imagination as the Sicilian Leolo Lozone, bizarrely conceived by a tomato, and entirely in awe of the world around him.
Léolo is obsessed with body parts and secretions. There’s an emphasis on liquids, fecal matter, and colossus bodies. Characters eat, things squish and slide. It’s a mélange that sometimes verges on the uncomfortable, but is always tangible – it has the feeling of concrete memory, not the stuff of distant nostalgia.
One bit of Léolo’s voiceover sums the film up nicely: “I was always divided by me desire to vomit and my desire to jerk off.
- 4/6/2015
- by Neal Dhand
- SoundOnSight
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