LFF 2014 - Mommy

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.