Screened as part of NZIFF 2021

Saint-Narcisse 2020

Directed by Bruce LaBruce Proud

Equal parts arthouse mystery and erotic melodrama, Saint-Narcisse sees queer iconoclast Bruce LaBruce pushing Greek myth through his 70s B-movie aesthetic to deliver this twisted tale of twincest, turmoil and treachery.

Nov 08

City Gallery Wellington

Nov 12
Sold Out

Embassy Deluxe

Nov 19

City Gallery Wellington

Canada In English
101 minutes DCP



Felix-Antoine Duval
Tania Kontoyanni
Alexandra Petrachuk


Nicolas Comeau
Paul Scherzer


Martin Girard
Bruce LaBruce


Michel La Veaux


Hubert Hayaud


Ryan Birnberg
Keith Elliott


Venice, Vancouver, Busan 2020


A twisted brotherhood takes centre stage in Saint-Narcisse, the new film from queer iconoclast Bruce LaBruce. Set in 1972 Canada, Saint-Narcisse opens with a handsome young man named Dominic (played with gusto by newcomer Felix-Antoine Duval) who, after a comic sexual encounter, discovers the existence of his twin brother living in a monastery under the tyrannical control of a depraved priest. Dominic sets out to save and reunite with his brother, but they’re soon embroiled in a bizarre tapestry of sex, revenge and redemption.

Equal parts arthouse mystery and fervent melodrama, LaBruce (L.A. Zombie, Hustler White) pushes the myth of Narcissus through his own singular lens; energetic, raucous and joyously erotic. The film might be his most mainstream yet, balancing his 70s B-movie aesthetic with a depth and sophistication that only builds and twists on his ancient source material.

Saint-Narcisse asks an all-time question: What happens when our self-obsession turns outwards? LaBruce’s turgid tale of twincest, turmoil and treachery answers it in the only way he can: loudly, with vigour. — Sam Brooks

“LaBruce manages the difficult balancing act of retaining the anarchic... aesthetic of his previous features that his cult following expects while achieving a new level of finesse... [It’s] is a wild ride that’s enjoyable in all its B-movie glory – the production design that’s just a little too kitschy, the dialogue that’s just a tad too ripe – while also titillating the intellect.” — Boyd van Hoeij, Hollywood Reporter