There's no reason to talk of Xavier Dolan as a young filmmaker any longer. Yes, he's only 25, but he's now five films into an already impressive career and Laurence Anyways is a film any director of forty years or more would be proud to call their crowning achievement. Now comes Mommy, a film that could easily be argued as his best, and there's absolutely no telling how high his star will rise, though I fully expect his to be a career that's wildly celebrated by all film aficionados 25 years from now. Telling the story of widowed mother Diane "Die" Despres (Anne Dorval) and her 15-year-old violent son, Steve (Antoine Olivier Pilon), Mommy delves into the bond of a mother and her child, the love that exists within that bond and how there's virtually nothing in this world that can break it. Diane, however, is struggling. Steve is more than a handful,...
- 9/5/2014
- by Brad Brevet
- Rope of Silicon
25-year-old Xavier Dolan surprised everyone at Cannes yesterday with his latest drama, "Mommy," a beautiful film that explores a mother-son relationship. Now, we have the first clip for the Canadian director's fifth feature film. Read More: Cannes Review: Is Xavier Dolan's 'Mommy' His Best Film?"Mommy" explores the relationship between a widowed, single mother, played by Dolan regular Anne Dorval, and her troubled teenage son. When a kind-hearted neighbor enters the picture, Dorval's character and her son (Antoine-Olivier Pilon) finally have a chance at stability. Check out the clip, with Counting Crows' "Colorblind," below.
- 5/22/2014
- by Eric Eidelstein
- Indiewire
Cannes - Let's hear it for Xavier Dolan: not many auteurs have built up such a body of work by the age of 25 that the first and least arguable adjective that can be applied to his latest is "characteristic." The Québécois multi-hyphenate does not appear on screen in "Mommy," a restless interior epic of unconditional love between mother and son, but his presence in it could hardly be stronger or more idiosyncratic. Dolan's passions, neuroses and eccentricities fill every frame of "Mommy" -- even the frames themselves have his name written all over them, given the director's unorthodox decision to shoot 90% of the film in a distinctive, disorienting 1:1 ratio. "I'm still big, it's the pictures that got small," protested Norma Desmond in "Sunset Boulevard"; think of Dolan's aesthetic here as a uniquely literal interpretation of that boast. Dolan has been labelled a cinematic narcissist in the past --...
- 5/22/2014
- by Guy Lodge
- Hitfix
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