‘The Visitor’ Review: Bruce LaBruce Is Back with a Spunky Call-to-Arms Loosely Inspired by ‘Teorema’
variety.comCatherine Bray A low-budget romp set in contemporary London against a curdled cultural backdrop of racist politics, Bruce LaBruce’s “The Visitor” pays explicit homage to Pier Paolo Pasolini’s sexually provocative last feature, “Teorema.” The cheeky Canadian director’s graphic reimagining sees various mysterious suitcases appearing here and there, each of which turns out to contain an identical naked man, all played by performance artist Bishop Black.
The rest of the film follows one of these guys, the “Visitor” of the film’s title, as he inveigles his way into the home of a wealthy family, proceeding to seduce each family member in turn.
The production has managed to wangle an imposing location for the Visitor’s antics to unfold: one of those huge London statement homes made almost entirely of glass, like a sort of gigantic Cubist fishbowl.
In other respects, the production values are somewhat DIY. This is Pasolini via early John Waters, including a lengthy scene of joyous coprophagia in which chocolate brownies stand in for the real thing (sparing the cast what Divine went through on “Pink Flamingos”).
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