An In-Person Tribute to Director John Greyson! In collaboration w/ OUTFEST: The Los Angeles Gay & Lesbian Film Festival and Turbulent Arts.

Outfest members will receive $1.00 off the general admission price of $7.00 by showing an Outfest membership card at the Egyptian Theatre box office. Not good with any other offer or applicable with discount passes.

This is one night in a retrospective of John Greyson’s work. The other films in this series will be presented by OUTFEST, and held at the LA Gay and Lesbian Center’s Village at Ed Gould Plaza. 1125 N. McCadden Pl. Los Angeles, Ca 90038. For general information, please call OUTFEST’s main office at 323/960-9200. For ticket reservations for the other films in the John Greyson retrospective, please call 323/960-2394.

Press Kit & Photos for LILIES






One Night Only

Thursday, March 30 – 7:30 P.M.

LILIES, 1996, Turbulent Arts, 95 min. John Greyson is the director of such landmark films as UNCUT, URINAL, and the one and only AIDS musical, ZERO PATIENCE. LILIES , winner of the Genie (The Canadian Oscar), is Greyson’s most beautiful film, in which he makes full use of a broad, cinematic canvas and demonstrates his signature wit and sensual theatricality at full force. A stunning cast explores repressed passion and boundary crossing gender representations in a 1950’s era Quebec prison. A lush tale of love, betrayal and sexual panic.

A bishop comes to hear the last confession of a prisoner, only to find that it is a man he grew up with 40 years ago. The prisoner, Simon, makes the Bishop a prisoner in the confessional booth while he reminds the clergyman of a pivotal year during their boyhood, 1912. Simon seeks the truth about events that happened that summer, when the Bishop became jealous of his love affairs.

John Greyson will be present after the screening to answer questions.

Want a more detailed description of this film? Read on.

LILIES is an emotionally intense, suspense-laden tale of love, betrayal and revenge in which one man's past comes back to haunt him.

In l952, a Catholic bishop (MARCEL SABOURIN) makes an exceptional visit to a federal penitentiary to hear a dying inmate's last confession. The prisoner in the confessional is Simon (AUBERT PALLASCIO), a childhood friend of the Bishop. Simon has more than confessing on his mind. The confessional door is locked from the outside, and Bishop Bilodeau is suddenly a hostage.

The prisoners transform the altar into a theatrical stage, and they change from their uniforms into makeshift costumes. They begin to re-enact a story of Simon's which tells of events that took place forty years earlier in the village where both he and Bilodeau lived as teenagers. The Bishop is forced to watch the drama which unfolds before him. The action moves back and forth, seamlessly through time, between the crude prison presentation of 1952 and what appear to be the actual events of l9l2.

In l9l2, in their village of Roberval in northern Québec, 18-year-olds Bilodeau and Simon rehearse for a school play with fellow student Vallier de Tilly (DANNY GILMORE), under the direction of Father St. Michel. Young Simon (JASON CADIEUX) stars as Saint Sebastian. Their rehearsal is becoming passionate, and it seems clear that their friendship is a romantic one, when a jealous young Bilodeau (MATTHEW FERGUSON) interrupts.

Later Bilodeau becomes jealous when Simon becomes engaged to an exotic French woman who comes to their small town and tries unsuccessfully to lure Simon to the seminary with him. The bittersweet love triangle eventually crescendos in tragedy and the adult Simon finally finds out the truth he has sought desperately for the past forty years.

John Greyson is the director of such landmark films as UNCUT, URINAL and the one and only AIDS musical, ZERO PATIENCE. His films have played at festivals around the world including Sundance, Toronto, Chicago, New York and Rotterdam.

Washington City Paper critic Joel E. Siegel wrote about LILIES: "…catapults over gay cinema ghetto walls and into the front ranks of international filmmakers… Incorporating theatrical devices from Shakespeare, Wilde, Genet and Peter Weiss, Greyson and Bouchard have structured LILIES like a set of Chinese boxes. Challengingly, but always coherently, they have created plays within plays, emphasizing the idea that gender itself is a kind of performance… Not since the ‘60s masterpieces by Bertolucci and Coppola has there been such an exquisite display of voluptuous, virtuoso filmmaking." In the LA WEEKLY, a critic wrote, "A flawlessly executed tragedy, hypnotic and moving, LILLIES paradoxically leaves you feeling high; it’s the buzz you get from seeing a great film." The San Francisco Bay Guardian deemed Greyson, "…the most challenging, confrontational of international gay directors.