Through an awkward accident, Camiel (Marcel Hensema) meets Simon (Cees Geel). Camiel is an intelligent, shy, insecure, gay student studying to become a dentist. Simon is close to his opposite: a true Amsterdam mythical hero - down-to-earth, liberal, dry humoured seducer ("Couldn't you just instantly turn into a naked chick?") who owns two cafés and lives in the Dutch paradox - he's in the semi-legal business of running a hash home delivery service. Both are true products of Dutch society, as it is dreamed to be, with their multilingual, easy, matter-of-fact approach to life. But the film is mostly about Simon. Well, about Camiel looking Simon, fascinated.So what is it about Simon that so fascinates Camiel? To a certain extent, Camiel is an outsider, he is just someone who walks the streets. He is not extraordinary in any sense. Neither his love life, nor his profession can help him up, nor does he play an instrument or have any hidden talent. When he meets Simon, it seems as if Simon has his whole life organised around himself, to be able to live his life fully. He is surrounded by his oddball friends and has a loving family (in Thailand!). And that with a forgiving smile which allows him to boyishly do as he pleases.The second half of the movie is darker than the first, when the weight on the looming tragedy starts to be felt (Simon's approaching death). The second half of the film is more emotional, building on the characters and relationships of the first half. Notice the remarkable difference in the treatment of the subject with Les Invasions Barbares, of death, friendship, love, sex and society. Perhaps the last is the most remarkable, because somewhere Simon is the society. There is no clash with an outer world which is different to him - because the difference between the individuals is what makes up the society in which he lives. Similarly there is no generational gap either, Simon's children will make something out of their lives as he did with his, nothing fundamental has changed. It is Western society at its (brief?) peak. If there is any weakness in the film, then it would have to be Simon's interest in Camiel, the reasons of which could have been more explicit (perhaps his stability, or his intelligence?). None the less, the audience takes on the role of Camiel, and is taken along into Simon's world. A world which is a rare glimpse into the liberal post-modern society which is (was?) The Netherlands. Camiel will not be the only one leaving impressed.

This film is extremely well elaborated. Without spoiling the movie for you, basically, Simon is a sad story between a drug-dealing, "living la vida loca" young man, and a gay man he unexpectedly met.14 years later, they meet again, but this time, the situation is totally different.The filmmakers do an excellent job at the beginning of the movie, that is, making people dive deep into the story, the characters and the general atmosphere. This has as consequence, later after the middle of the movie, that the filmmakers start playing with the audience's emotions, leveraging on all the details presented during the beginning to force the audience into the main topic of the movie.The second half of the movie is the sad part of it. There, the lives of all the people involved are bound together by an unexpected tragedy. The film has an obvious ending, but during that time, the audience's feelings and emotions are constantly touched and moved. This emotional play is perfect for the deep meanings of the movie: a reflexion and the presenting of different perspectives of homosexuality, drugs, sex and eutanasia.

This movie is about an unlikely friendship. Right at the start of it you learn that one of them is gay and polite, and the other is an outspoken, humorous heterosexual that has cancer, and might die sometime soon. The movie then goes back and forth along some fourteen years, starting with the day these guys met.Sounds simple? You are in for some surprises. This is not just a film about a guy that is quite obnoxious and irresistibly lovely at the same time. It is also about being yourself, shy or not, and living in a country that has more tolerance to cultural diversity. But mostly about this man that always tries to do the right thing, and enjoy his life, and have a laugh with his friends, even as it looks like death might come sooner than expected. I love this guy. And the Netherlands never looked that much beautiful on film.

This film reminded me strongly of Les Invasions Barbares by Denys Arcand (Canada, 2003), & it makes feel a bit suspicious: is it coincidence or did Terstall borrow thoroughly from Arcand? The similarities are plenty, down to the details.The two films basically tell the same story: the main character, with his outspoken & sympathetic personality, is suffering from a terrible decease & is preparing to say sayonara to the world. His friends, (ex-)lovers & family are gathered around his sick bed, living up to the day & hour of his final departure. For people who liked the film Simon, Les Invasions Barbares may be interesting, if only for comparison. It shows a different way, rather more subtle, of dealing with this material. I do believe Arcand provides better & funnier dialogues & the film leads up to a climax in a more balanced way. If emotional impact of a film is the most important criteria, Simon deserves high ratings: we see how a wonderful person has the courage to step out & we sympathise with him. In terms of the film as a whole & originality, it is currently overrated at 8.4.