Set in a lonely farm in Quebec, TOM A LA FERME concerns the inner life of the eponymous central character (Xavier Dolan) mourning the death of his lover. He goes to his lover's family's isolated farm for the funeral, and there encounters the mother (Lise Roy) and her other son (Pierre-Yves Cardinal), neither of whom were aware of the dead lover's sexuality.
The film concentrates on the gradual discovery by the family of their dead son's secret, and how it affects them. Francis is both horrified yet strangely affected; as the action unfolds, he develops an unnatural affection for Tom that is both sadistic and sexual. The mother seems to be unaware of what's happening around her, but perhaps she is just deliberately blinding herself to the truth as a means of self-protection. Tom finds himself imprisoned at the farm; even when his close acquaintance Sarah (Evelyne Brochu) comes to visit, he cannot contrive an effective escape.
TOM A LA FERME concentrates on the ways in which people conceal their private inclinations, even from their nearest and dearest, and the damage that actually causes them. This is especially true of Francis, who emerges from the film as a seriously disturbed character, masking his sexual inadequacies beneath a veil of strength. Yet the process of self-discovery for all the characters is an enabling one - so much so that when Tom finally escapes from the farm, he does not appear very happy to have done so. The film ends with a shot of him re-entering the city of Montreal, the lighted skyscrapers flashing by outside his car windows, with his face set in an expressionless gaze as he drives. It seems that 'freedom' for him is nothing more than a form of imprisonment; by extension, therefore, his imprisonment at the farm was an opportunity to discover some form of freedom.
Filmed on a series of bleak winter days in stark, washed-out colors, TOM A LA FERME is a searing psychological examination of sexualities and how they are often willfully concealed.
The film concentrates on the gradual discovery by the family of their dead son's secret, and how it affects them. Francis is both horrified yet strangely affected; as the action unfolds, he develops an unnatural affection for Tom that is both sadistic and sexual. The mother seems to be unaware of what's happening around her, but perhaps she is just deliberately blinding herself to the truth as a means of self-protection. Tom finds himself imprisoned at the farm; even when his close acquaintance Sarah (Evelyne Brochu) comes to visit, he cannot contrive an effective escape.
TOM A LA FERME concentrates on the ways in which people conceal their private inclinations, even from their nearest and dearest, and the damage that actually causes them. This is especially true of Francis, who emerges from the film as a seriously disturbed character, masking his sexual inadequacies beneath a veil of strength. Yet the process of self-discovery for all the characters is an enabling one - so much so that when Tom finally escapes from the farm, he does not appear very happy to have done so. The film ends with a shot of him re-entering the city of Montreal, the lighted skyscrapers flashing by outside his car windows, with his face set in an expressionless gaze as he drives. It seems that 'freedom' for him is nothing more than a form of imprisonment; by extension, therefore, his imprisonment at the farm was an opportunity to discover some form of freedom.
Filmed on a series of bleak winter days in stark, washed-out colors, TOM A LA FERME is a searing psychological examination of sexualities and how they are often willfully concealed.