Giacomo Abbruzzese’s debut feature is a hazily seductive, frequently dreamlike study of life in the French Foreign Legion, fixated on masculine bodies in synchronized and sometimes violently …
.” You almost certainly wouldn’t choose that subject, tone and title for a film if you didn’t want viewers’ minds to immediately wander to “Beau Travail,” Claire Denis’ seminal Foreign Legion cine-ballet, with its climactic solo number set to a thumping Eurodance classic; even if you somehow made that error, you wouldn’t compound it with electro-scored terpsichorean interludes of your own.
To be identified as part of any community, it seems, is anathema to his character Aleksei, a taciturn Belarusian drifter with a mural of intricate prison tattoos on his torso. We first encounter him on a raucous bus packed with chanting Belarusian football fans, crossing the border into Poland for a match, but it’s clear from the outset that Aleksei and his close friend Mikhail have a different agenda from the braying men around them.
On a hostage rescue mission to Nigeria, he crosses paths with Niger Delta rebel fighter Jomo , and grisly military business takes its course. The notion of duty does little to allay the persistent air of haunting, by bodies crossed and killed, that descends on the reluctant legionnaire — as “Disco Boy,” already a film with its own jagged grasp on reality, morphs into an oblique post-colonial ghost story of sorts, guided by its protagonist’s erratic moods and visions.
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