MOMMY (Canada 2014) ***1/2
Directed by Xavier Dolan
Xavier Dolan (J’AI TUE MY MERE, LAURENCE ANYWAYS, TOM A LA FERME) returns with another emotionally drama about a mother and son.
The niche in the film is that Dolan has shot the film in a 1:1 screen ratio, a narrow frame that intensifies any dramatic motion. Close-ups are aplenty and any emotional scene is heightened. Lots of shouting, letting loose and a bit of domestic violence like slitting of wrists re allowed. There are two occasions when Dolan widens the screen, when things appear king rosy for his characters. The best segment in MOMMY is the one in which MOMMY freaks out, just like the best one in LAURENCE ANYWAYS when the woman protagonist freaks out as well. Dolan does well in the film, as h has polished his material and his art.
Dolan does not star in this film. He gives the young acting honours to Antoine-Olivier Pilon who does a pretty good job as a emotionally challenged boy.
At times, the film feels like a personal battle between mother and son, sort of like WE NEED TO TALK ABOUT KEVIN, but Dolan style.
Steve (Pilon) is a troubled teenager. When his mother, Diane (Anne Dorval), picks him up from a government institution to care for him at home, it is an act of deep maternal commitment — and a huge risk. Although he can be sweet as an angel, Steve is volatile. As Diane tries to manage her son's mood swings at home, it's clear that she's not exactly serene either. A working-class Quebec woman with a messy personal life, she's barely keeping it together. So when their shy neighbour Kyla (Suzanne Clément) takes an interest in mother and son, a surprising trio develops.
All three actors deliver intense performances. Quebec star, Patrice Huard (STARBUCK) has the small role of Paul, a lawyer. The story leads to a dead end with little joy in between. So, don’t expect a feel good Dolan film, though there exists moments of warmth. The same can be said of his other 4 features.
Dolan shared the Special Jury Prize at Cannes for MOMMY. Is MOMMY a masterpiece or classic? No, but his fifth film is still a pretty well made, intense film. Dolan has not really covered any new territory with the subject matter. In fact the film could also be called J’AI TUE MON FILS. Dolan is more controlled and the film contains no bouts of cinematic excesses. It is a character driven film, extremely well acted but not an easy watch.
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