Buddy Boy

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Buddy Boy
Directed by	Mark Hanlon
Produced by	Cary Woods
Written by	Mark Hanlon
Starring	Aidan Gillen Emmanuelle Seigner Susan Tyrrell
Music by	Michael Brook Brian Eno Graeme Revell
Cinematography	Hubert Taczanowski
Editing by	Hughes Winborne
Distributed by	Fine Line Features
Release date(s)	March 24, 2000
Running time	105 min
Country	USA
Language	English
Allmovie profile
IMDb profile

Buddy Boy, a psychological thriller written and directed by Mark Hanlon, premiered to a standing ovation at the Venice International Film Festival on September 5, 1999 in the Cinema del Presente section. It subsequently bowed at the Toronto International Film Festival (World Cinema section) and South by Southwest Film Festival before being released theatrically by Fine Line Features in North America on March 24th, 2000. Rex Reed of the New York Observer in reviewing the film called it "a curious, unsettling, darkly conceived and absolutely fascinating little film. Not since Roman Polanski at the pinnacle of his European weirdness have I seen a film this strange and riveting." Following its North American premiere, Buddy Boy was released theatrically in a variety of international territories and continues to enjoy extensive airing on the Sundance Channel, IFC, BBC, RTÉ, and many other cable and broadcast outlets. International DVD releases have been made in Japan, Italy, Spain, France and the United Kingdom. The special edition DVD was released in North America by Image Entertainment on September 25, 2005. On September 11, 2007 it was released as part of a three-film DVD triptych along with Antonia Bird's Face and Peter Medak's Let Him Have It.

[edit] Plot Synopsis

The story of a pious introvert whose religious conviction begins to crumble under the weight of a cruel and strange existence, Buddy Boy is a stylistically bold study of faith, obsession, alienation and madness. The film's title character, Francis, lives with his invalid, abusive mother in a dingy tenement apartment, and has suffered a life of unrelenting misfortune and brutality. Over time, he has withdrawn from the world and into himself, silently observing others rather than interacting with them. His only solace has been his Catholicism, but he has begun to question his faith in a loving God who could countenance so much evil and pain. When he discovers he can see into the apartment of a beautiful, mysterious woman from his own back stairs, Francis cannot stop watching her, even after he meets her and they become romantically involved. Unable or unwilling to believe that she could actually love him, he becomes ever more obsessive in his voyeurism. And it is what Francis sees – or thinks he sees – that leads ultimately to his undoing.