10 March 2018

BPM and The Young Karl Marx

BPM: Beats Per Minute (120 battements par minute) tells the story of AIDS activists with ACT UP Paris in the 1990s, and its scenes of ACT UP meetings are among the most compelling representations of everyday political planning and argument I know of other than the extraordinary land reform debate scene in Ken Loach's Land and Freedom. (There's also a powerful debate scene in Loach's later The Wind that Shakes the Barley, but Land and Freedom is even more remarkable in my eyes because it so patiently dramatizes a kind of conversation rarely even imagined by most of its likely viewers. Almost any other director would pare such scenes down to soundbites, but Campillo lets us watch discussions play out and doesn't simplify the arguments into pro/con battles. We see the characters react, think, respond.

Even in a movie like Land and Freedom, the narrative starts with a focal character and brings us into the story via that focal character. One of the most revolutionary moves BPM makes is to flip this structure. We begin with the group, and only slowly get to know the two characters who will turn out to be the protagonists. It's a risky choice, because as audiences we're conditioned to latch on to individuals and to expect a story to be told through them, so a narrative that only slowly moves toward an individual story (or small set of parallel individual stories) may be frustrating, even bewildering. "Who should I root for?" the viewer asks. "What figure should I attach my sympathies to?"

What BPM requires is that we first sympathize with the group and only later find our way toward individual stories. By doing so, we don't reduce the group's complexities to a few individual personalities, but instead, even when the film is heartwrenching within an individual story, we always have the larger context at the back of our mind. This is one solution to the Brechtian problem of what to do with the intellect when individual sentiment threatens to overwhelm knowledge of the larger field shaping the individual story: we don't need to be distanced from the individual story, nor does it need to be defamiliarized; instead, a narrative web needs to be woven carefully enough that the parts are never separate from the whole.