A week after the news that those infected with HIV now have a “near normal” life expectancy, Robin Campillo’s 120 Beats Per Minute, in competition in Cannes, is a timely reminder of the long hard road travelled to reach that statistic.

Set in early 90s Paris, the film opens with a group of activists waiting to ambush a conference about AIDS research. We then cut to the activist group meeting: the group is Act Up and their name is an apt one, for there is something of a drama group about them. However, the real drama is the virus sweeping across the world and the French government’s inaction in terms of prevention and research. The meeting provides an opportunity to meet the main characters: new boy Nathan (Arnaud Valois), team leader Thibault (Antoine Reinartz) and the impish and cute Sean (Pérez Biscayart).

The group is open to all and includes a mother and her 16-year-old son Marco (Théophile Ray), who she infected with HIV when treating him with infected blood for his haemophilia. Marco is an expert in mixing fake blood in the bathtub, and we quickly see how both the group and the virus have galvanized his mum. Sophie (Adèle Haenel, who is racking up a remarkable filmography) is one of the most militant members, and there are frequent debates about how to push for advancements in treatment.

120 Beats Per MinuteIf this sounds a little stodgy and more reminiscent of political theatre, it isn’t. The meetings are entertaining and dynamic, introducing and establishing key characters and relationships. They are frequently interspersed with the various activities of the group, from battling a pharmaceutical company on its own turf (and with more fake blood) to entering school rooms to educate teens about protecting themselves from STDs. There is a great scene on a train, with Sean giving the rookie members a talk about how his life has changed since his HIV diagnosis. After such a strong opening, the audience might be worried that the film is slipping into mawkish philosophising, but Sean – and the director – are just pulling our collective leg. That is one of the joys of this film – the ability to flit between the weight of its topic to the joyous, flirtatious and sexy.

The film is also a love story, for Nathan and Sean become a couple. There is no happy end in sight, though, as the virus wreaks its hideous havoc on Sean. The relationship is beautifully rendered and their connection is completely believable. This is thanks to the fine performances of the two leads, and as Sean’s condition deteriorates their performances grow stronger.   

There are some beautiful images here: the dust motes floating above the dancers in a club become the molecules changing and becoming infected in a human body. The dust particles also represent how we are all intertwined and connected. The Seine turned a vivid red is a clear evocation that in this battle to seek new treatment, so many lives were lost. And as in war, those lives were predominantly young men in their prime of life.

The film is a reminder of just how many obstacles had to be surpassed and the film excels at re-evoking those bad old days of rampant homophobia and ignorance. A little like the British film Pride, 120 Beats Per Minute also reminds us that throughout all those bad old days in the 1980s and 1990s, there was a determined and courageous group that fought hard for change. Although a little over-long at 140 minutes, 120 Beats Per Minute is a powerful film dealing with people politicised by a disease and is a tribute to the people who fought and continue to fight for all our rights.