Adèle's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire and to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and ultimately finds herself through love and loss.
Georges and Anne are an octogenarian couple. They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and the couple's bond of love is severely tested.
Forty-six year old Diane Després - "Die" - has been widowed for three years. Considered white trash by many, Die does whatever she needs, including strutting her body in front of male employers who will look, to make an honest living. That bread-winning ability is affected when she makes the decision to remove her only offspring, fifteen year old Steve Després, from her previously imposed institutionalization, one step below juvenile detention. She institutionalized him shortly following her husband's death due to Steve's attention deficit hyperactivity disorder (ADHD) and his violent outbursts. He was just kicked out of the latest in a long line of facilities for setting fire to the cafeteria, in turn injuring another boy. She made this decision to deinstitutionalize him as she didn't like the alternative, sending him into more restrictive juvenile detention from which he would probably never be rehabilitated. However, with this deinstitutionalization, she has to take care of him ... Written by
Received a 12 minute standing ovation at the Cannes film festival. See more »
I wanted to tell you... I just wanted to thank you for your patience. I know I'm rough. Like Grandma used to say when I was younger, that I was rough. Now I get it, why she said that. So I'm sorry. And when I think about the times when... When I think about how much maybe I hurt you... After, when I get my shit together... I'm so fucking sad because you deserve so much better than a fucking retard like me! So... What matters is... I'm thinking about you here, and I love you.
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Not what I expected. It's a film that features quite a lot of dark
elements, but the film somehow manages to be really touching in such an
odd, but effective way. I don't think it's flawless. The script has a
few cracks here and there, and it sometimes feels a bit aimless in what
it's trying to say. I also very much enjoyed Dolan's directorial
touches, but many times they're a bit jarring and too stylistic for its
own good. However, what I will not at all criticize is that 4-minute
sequence near the beginning of its third act (you know which one). That
glorious score with those images created a profoundly moving sequence,
one of the most emotionally powerful scenes of the year. But that's how
a lot of the film is. I liked it a lot, but it can feel like many great
individual scenes and yet not as cohesive as a whole
The acting here is phenomenal though. The three leads and the places
they go to are harrowing and they probably rise the material greatly.
The ending was a bit too obvious and not very original, but I'll take
Not as enamored with it as most, but I still found it to be a truly
incredible experience that is no doubt so inherently interesting and
entertaining, much like the only other Dolan film I've seen Tom at the
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