Product Details

• Amazon Sales Rank: #231221 in DVD
• Rating: R (Restricted)
• Aspect ratio: 1.33:1
• Format: PAL
• Original language: German, English
• Subtitled in: German

Customer Reviews

Lilies is a brilliant and visually stunning film!!!!!
Lilies is a brilliant and visually stunning film!!!!! It is the story of a Priest held captive in a prison while the prisoners reinact scenes from his youth. As a tale of two boys in love unfolds, one of the boys, now an elderly convict narrorates and makes the Priest own up to his past and admit to the things he did. The way the film jumps between the flashbacks and reality on the prison stage is fabulous. Because the action really takes place inside the prison, even the flashbacks, all the actors are men, and in the flashbacks they are in drag to portray the women. All the actors give very believable, tasteful, and convincing portrayals. It is a heart-warming and very endearing film, classy yet entertaining, reminiscent of a Merchant-Ivory masterpiece. It will leave your heart aching, your mind racing, and you thorourghly entertained. I cannot wait to own a copy of Lilies, and add it to my collection.

Tender and emotional; a surprising work of art!
"Lilies" is actually two stories going on at the same time. One is the story of a prison convict who asks for a priest to hear his confession, only to bewilder the priest with events from their shared past. The other story is one of love and passion, of betrayal and mistrust, of devotion and connection; the list goes on. The visual integrity is a vision beyond that of any love story I've seen to date, making this a very convincing and masterful production.

The film begins with an elderly Bishop making his way to a prison to hear the confession of an inmate. Once in the prison church, it strikes him as odd that a private confession have so many witnesses in the chapel, but once he makes his way to the confession box, it becomes clear that this is no ordinary religious procedure. The convict, Simon, has a plan of revenge for the Bishop, and the chapel is transformed into a stage, the prisoners its actors.

The story is that of Simon's life before prison, from his teenage years to the events that brought him to confinement. Simon is a sexually confused adolescent with whom the waifish Vallier is madly in love. Vallier is thin, pale and very emotional, and becomes severely depressed once Simon decides he must start "liking girls." He goes along to the charms of a French countess, who desperately holds onto him to fulfill her fantasy of love.

But a forced love never lasts, and Simon soon learns this. His willingness to satisfy his father's expectations are a burden to him, as is young Bilodeau, who regards his behavior with Vallier as sick. Simon soon gives in to his heart, realizing that he loves no other than Vallier. So how does the Bishop tie into the story? This I will not reveal. It is easy to guess what part he plays in the overall scheme of things.

But this predictable story twist makes the movie's love story no less affecting. This is a story of a love that could never be torn apart, a love that knew no bounds, one that met its match and won. And on the emotional side, it's quite touching to see scenes involving the two lovers handled in a less-explicit manner than most other films.

The movie makes convincing transitions from the past to the present, and even some crosses between the two. The past is brought to life by the actors of the prison, and certain scenes are staged like a play in the chapel while others are seen in Simon's mind's eye. Director John Greyson brings visual flare to the film, though some will find it difficult to make the transition. But if you're on Greyson's wavelength, then the film takes on a sumptuous and tasteful appeal.

And the cast is a work of art in its own. Young Simon is played by Jason Cadieux, who shares an electric chemistry with Danny Gilmore, playing Vallier. The two are believable as lovers, and equally as moving when they are separated from one another. Older Simon, played by Aubert Pallascio, is hardened by silent rage over his lost love, while the Bishop, played by Marcel Sabourin, is convincing in his fear over the situation. And Matthew Ferguson makes Bilodeau such an annoyance that we know he will come into play later into the film.

"Lilies" is a visually sumptuous treat that many will dismiss, but others will love. There is fire within the romance of Simon and Vallier, one that cannot be matched by many other romances in mainstream films. The present day story is a nice outlet for the memories of a man haunted by his first and only love, and the silent hatred for his enemy.

Riveting.
Lilies has to be the best gay film overall I've seen and it leaves me struggling for words to adequately express my appreciation other than to urge others to see it for themselves. I had read many positive reviews before ordering the DVD, but still I was not prepared for how good this movie is; the film could not possibly have won all the awards it deserves.

Simply put, Lilies is captivating from the opening scene

The cast is excellent, particularly the two leads, Jason Cadieux as the young Simon and Danny Gilmore as Vallier, but there isn't a weak character in the film. Matthew Ferguson turns in a powerful performance as the young Bilodeau and Brent Carver is magnificent as the Countess in delicious supporting roles.

The transitions from present day to flashback and back again transpire so beguilingly you find it impossible to take your eyes off the screen. The soundtrack is exceptional, to say the very least. This is good filmmaking, regardless of the subject matter.

Lillies is not my sentimental favorite gay film, however; in fact, it's a bit of a downer. The love story within the story is beautiful, as well as being beautifully told and acted. Most focus on the extraordinarily handsome Cadieux as the young Simon, but the real heart of the story is Vallier, without whom Simon is just another pretty boy, as he comes to realize. The character of Vallier is nailed, absolutely, by Gilmore, who is fetching in his own right. His confrontation of Simon in the bathtub scene at the end is as powerful a scene as any in gay cinema. The intensity of passion and nuances of emotion Gilmore brings to this scene, as well as his entire role, are riveting.

But the confrontation between the older Simon and Bilodeau is less uplifting. I am not a Catholic, so I am not being defensive, but I found this twist of the story a bit too easy, a bit too much of a cliche, and I did not feel the older Simon's need for revenge nearly as strongly as I felt the passion of the young Vallier.

These objections having been stated however, if John Greyson (or anybody for that matter) has ever made a better gay film, I would like to know about it.