Mark and Kameron's exchange in our last round about the
lack of explicit gay sex scenes in Call Me by Your Name, and what that «omission» (or, as Mark more precisely identifies it,
deliberate aesthetic choice) has meant to different segments
of the film's queer audience, brought to mind BPM, a brainy but also wrenchingly heartfelt film whose
story in part revolves around those very questions: how much to show, to whom, and for what purpose.
Set in the mid-1980s, it builds a thriller - like
story of a woman trying to help her friend obtain a dangerous illegal abortion — yet it's a thriller so
deliberate that its very slowness and
lack of movement becomes a major source
of tension.