This is How Movies Should Be Made

good back-story, and good acting

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I didn't plan to write a comment, but there are only five, and all their ratings are high. I totally disagree with them, therefore, I wrote the following comment.I don't speak French, so I had to watch the subtitle. I checked out the DVD from a local library. The first half of movie was fine, but the subtitle starts to appear about 5 seconds later than the actual dialog. So it was getting confusing to tell who said what.There were all kinds of people who got killed with different backgrounds. , they simple don't make much sense. It seems that director just made all those killings to make this movie more "interesting".For example, after a black guy was killed. The detective did not take a heart shaped box the first time he searched the house. The detective came back to that house the second time, and went directly to the place where the box was stored. How did the detective know about this box the second time, and if he already knew about it, why didn't he take it the first time? After a man was stabbed by the killer, Bo went to that apartment. The man pointed into his pants, Bo was able to get a roll of film. Instead of giving it to the police, s/he actually kept the film himself. What for? He is not the detective, and he doesn't know what is in the film, why would he wants to keep the film? Then he went to someone s/he knows, asked him to develop the film for him. And that guy didn't even bother to ask Bo why s/he has those graphic pictures?Overall, there were lots of scenes that don't make sense at all. It is a confusing movie.

This film was recently recommended to me on a forum discussion concerning the best LGBT cinema. But Mauvais Genres is so good that I wouldn't say that it appeals only to such interest groups. It is excessively Hitchcockian (an adjective used far too often, but utterly justified in this case) in it's outlook. Indeed there are so many MacGuffins in this thriller involving props such as a microfilm or a heart-shaped box that you feel it edging almost into the territory of parody. As it is the movie stays at a more gleeful, vital, tone, revelling in homage. It is glossy enough for us to suggest that its tone comes from Hitchcock via de Palma. The music though seems directly inspired by such classic Hitchock scores as that in Vertigo.There are in my opinion two characters in this movie of outstanding interest. First we have Bo, a transsexual entertainer, played by Robinson Stévenin, in what has to be one of the most outstanding performances that I have ever seen (winning the Cesar for best new actor). She is such an alive and beautiful person that it is truly painful when we see her subjected to violence. There is a subplot in the film concerning the fact that she was abused as a child and there are implications that her retreat into femininity is a coping strategy for dealing with that abuse. I'm in no way qualified to examine the risibility or otherwise of such claims, but certainly these thoughts may have been filtering through her mind and leading towards self-destructive behaviour.The meat of the movie, which is only ostensibly a serial-killer thriller, is her love for Johnny, a clearly violent and handsome young man who has very mixed thoughts concerning transsexuals. Her love for him is so blind as to verge on self-immolation, her approaches undeterred by even a broken arm. I watch film to see excesses of emotions, and in her love for this psychotic individual, Bo's love becomes a fiery inferno that inundates her.Johnny is also a very interesting character, he joined up in the foreign legion to see the tropics but, we are told, ended up waiting table at headquarters in Avignon. Metaphorically speaking perhaps that's what happens to most men in modern society. And you can certainly sense the frustration in this 'red-blooded' man for whom society is effectively a cage.

Francis Girod began his career with a scandalous movie:Romy Schneider,who was looked upon as a Madonna by most of the FRench audience became one the most disgusting criminals an actress had ever played.Since he watered down his wine and subsequent works were much more moderate ("Lacenaire""la banquière") when they were not drastic failures ("descente aux enfers" " passage à l'acte"."Mauvais genres " is a return to form for Girod.He has never been so nefarious since his debut.Two actors give stunning performances:Robinson Stevenin plays a transvestite ,a part so difficult -he is on the screen from the beginning to the end- it's a miracle he could pull it off so brilliantly.But Richard Bohringer's cop is even more impressive:his character speaks in a croaking voice ,close to a whisper.Meava the transsexual is probably the most humane character in the whole movie.The plot is so complex it will demand several viewings.A lot of elements interfere :a serial killer who kills male and female prostitutes ,a transvestite whose father has just been arrested for pedophilia -which might or might not lead his son (Stevenin) whom he abused to lead such a life-; the "sens interdit" (one-way street) gay club where you can see a drag act , the "twin duet" featured in Demy 's "les demoiselles de Rochefort" ;elements of melodrama : the past of the characters recalls those endless novels from the nineteenth century when the characters did not know exactly who their father was;and a love the hero feels for a so-called straight mover (who's also a gigolo) .But more than the story,it's the atmosphere which matters.Girod creates a destabilizing world which leaves the viewer panting for breath.And it's not sexist.The monsters are not necessarily the non-straights.

A great thriller, the film kept me guessing till the end. Robinson Stevenin was fantastic as Bo Ancellin. I saw the film when it came out in France and am glad somebody finally decided to bring it to the United States. Robinson Stevenin won a Cesar Award for his performance as a transvestite accused of a series of murders in Brussel's underground in this exciting, murder mystery film. It's rare to see a film which features a trans-gendered character as the lead actor, especially in a film theatrically released in the United States. The director, Francis Girod did an excellent job bringing the story to life. There was never a dull moment in Transfixed. Two thumbs way up, see this film!