Avoid...

Not to mention a film epical in its portrait of the agony of loveNot to mention a film spuming outward with bleeding passionNot to mention a film coruscating outward with potent intense waves of melancholiaNot to mention a film brilliantly capturing the feeling of infinitely delayed resolutions to love and to identity and to life and to the universe and to everythingNot to mention a film brilliantly utilizing the thematic motifs of masquerading and identity roles.Not to mention a film flaming with elaborately and refulgently ornamented mise-en-scene, resplendent festivals of colours brightly stabbing with a vengeance, emphasizing the anxiety and agony of loveNot to mention a film with stunning landscape compositionsNot to mention a film with pacing that seamlessly and epiphanically interweaves real measured time with cinematic unmeasured timeNot to mention a perfectly executed Proustian film, a film predicated upon the characters' uncontrollable remembrance and lack thereof (Laurence's mother) of events through the objects and landmarks that surround them and point to their obsession with the past, their obsession nor nostalghic nor inspiring but a bit menacing and a bunch melancholic, reminding them of everything they can never have or hope to have, prompting them to replace their hopes and dreams with sex and self-obsession and meaningless routines all of which fail them (masquerading.....), the only positive moments occurring when the characters escape normal-time and drop their masques and for a few brief moments linger suspended within a memory (for example Fred reading the poems, Laurence remembering when he and Fred first met) or even reality itself (for example when Laurence and Fred escape to the Isle of Black) of what could have been but emerge from those reminiscences and real-time experiences (Isle of Black) ever more confused and unresolved as they were before, and continue living in a present stunted in its growth by a pervasive past they can never reconcile, a past that lives simultaneously on in their present.Not to mention a film showcasing a refined sublime virtuosity of technical direction that makes every film of 2012 look like a jokeNot to mention a film expertly employing a diversity of music as well as voided sound that rigourously parallels, musically and lyrically and sonically (decibel level), the themes and tones and emotions of each scene the music is heard Not to mention one of the few "gay-themed" films made that is honest and serious and from the heart as opposed to postured and caricatured and agenda-drivenThis is a must-watch, 10/10