There's an undeniable talent about Xavier Dolan that
has been showcased throughout the immensely successful 25-year-old's
plaudit-laden career. Showcasing his fifth directorial outing in as many
years, Dolan has tackled many a jarring subject and this time takes a
rather softer approach as he delves into the relationship of a mother
and her son - but not without some conflict along the way - in the
riveting Mommy.
Diane (Anne Dorval) and her son Steve (Antoine-Olivier Pilon)
have just moved into a new neighbourhood and are seeking a new start.
While Die seeks out a new living and a stable way of living, Steve is
tackling his own issues as an ADHD sufferer, his violent spurts not only
represented by bad language but also outbursts of physicality.
While
many are understandably stand-offish when confronting Steve in the
neighbourhood, one person who soon befriends the two-person family unit
is mysterious neighbour Kyla (Suzanne Clement). Kyla is currently on hiatus from work and experiences a stammer
in her speech; along with the obvious fact that she isn't at all close
with her own husband or child. Striking a blossoming relationship with
both Steve and Die, Kyla not only finds a new lease of life but also
aids in releasing a whole new meaning to living within her newfound
friends.
Xavier Dolan is rarely one to skate far from
controversial and powerful issues in his films but for the most part he
sticks within boundaries of normality and presents a wonderful tale of a
relationship that, like every, has its ups and downs. Not only
exploring the true meaning of family, but also delving into the
friendship aspect of life, he creates a wholly engaging and often
humourous affair that revels in the wonderment and darkness that life
can bring forth.
At the heart of Dolan's film is a simply
subliminal performance from a young talent whose on-screen antics evoke
so many different emotions from the audience. From sorrow to a real
level of digust, Pilon is a true revelation, portraying a troubled youth
to inch-perfect levels; his tantrums coaxing in the uncomfortable
moments and a flip-sided cheeky humour often inducing a great deal of
laughter. From such a young man comes an array of ever-changing emotions
and he handles it with relative ease, tempting us into a false sense of
security with a butter-wouldn't-melt persona, before whipping up a
storm with his fists and vile language.
It doesn't stop there
either, with both Clement and Dorval serving up their own powerhouse
performances and going through the motions as they too jump from one end
of the emotional spectrum to the next. Clement's Kyla is somewhat of a
conundrum; sweet upon first clapping eyes on her eye, but possessing
something deeper which remains a unexpected surprise that may catch many
off guard.
Dorval's Die on the other hand, is the woman bearing the brunt of
physical and verbal assaults, her exterior steely and bold, while her
insides slowly melt inside and transfer instinctively to the viewer.
Dolan's
film isn't all spot-on though and there are issues encountered beyond
the superb story and execution from its main acts. The music choices
within the film, albeit looking to maintain the rather
uncharacteristically upbeat notion, are often off-key with the events
unfolding in front of our eyes and it drops the ball in its duration.
Agreed,
some movies are completely acceptable in their use of a longer duration
to tie up loose ends and find some sort of resolution, but Mommy
takes it beyond that level and there will be moments where the end is
in sight only for another fifteen to twenty minutes to follow. This
slightly deters from what is actually a rather emotive and enjoyable
outing from the talented filmmaker, but overall the experience once
again showcases why this young individual is continuously racking up
awards left, right and centre.
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