TRANSFIXED
Directed by: Francis Girod.
Produced by: Humbert Balsan.
Written by: Francis Girod & Philippe Cougrand, based on the novel Transfixions by Brigitte Aubert.
Director of Photography: Thierry Jault.
Edited by: Isabelle Dedieu.
Music by: Alexandre Desplat.
Released by: Picture This! Entertainment.
Language: French.
Country of Origin: France/Belgium. 106 min. Not Rated.
With: Robinson Stévenin, Richard Boringer & Stéphane Metzger.

Although it follows the conventions of the serial-killer genre, what sets this psychological thriller apart is Bo, the attractive transvestite who is at the center of two police investigations. Her father is under suspicion for child molestation. Now, the police believe the allegations Bo made as a teenager and want her to testify against her father. But the same police officers (apparently Brussels has a small force) are investigating the brutal murders of transvestite prostitutes, many of them friends of Bo. Like Mona Lisa, Transfixed is set in a sordid milieu of drugs, blackmail and police corruption. (Bo is more Doris Day than Rita Hayworth – she doesn’t do tricks, take drugs, or work in porn.) As the plot unravels, the film takes unbelievable turns, including a scene where Bo breaks into a crime scene without wearing gloves and steals evidence. And later, she just happens upon another crime scene.

But what is most ludicrous is Bo's fixation on neighbor Johnny, a handsome gigolo she spies on with binoculars (while her lights are still on). Johnny is instantly attracted to her, until informed that she is a he. At their second encounter, Johnny warns Bo, “Lay off, or you’ll get it.” He lives up to his word, setting her up to be bashed. But Bo is determined to convince Johnny she loves him, repeatedly intruding upon him, even though he has given her no sign of hope. (His expression is a perpetual snarl.) This is one abusive relationship where there is no tenderness or reprieve from hostility. Instead, Bo is the cliché of the self-hating victim.

This unconvincing relationship is superficially explored and not enriched by Robinson Stéverin’s non-responsive and guarded performance. Whether Johnny is twisting Bo's arm or shoving her down into the pavement, Stéverin’s reactions are delayed. And it's hard to sympathize with Bo since she's unwilling to cooperate with the police to convict her father or prevent her friends from being mutilated. And too many establishing shots of Bo wandering the streets slows the pace, giving the audience more than enough time to connect the dots. Kent Turner
July 30, 2004