Don't let the film's autobiographical audacity (the one-time writer-director-star died of AIDS just before sweeping the 1992 Cesar Awards) overshadow its artistic urgency—jump-cuts, multi-culti soundtrack, and influential camera moves as if the camera operator circles backwards from characters while keeping them in spiritual focus—which gives AIDS-era existential weight to the passions and couplings of a bisexual love triangle and challenges each character's sense of self (The unforgettable final sequence--pure cinema--echoed for this young moviegoer in 1994 the Grand Canyon climax of Alan Rudolph's 1993 Equinox: phenomenological expression of identity through visual awe--and established my ideal for movie endings)