Canadian Xavier Dolan’s only 25 years old. He can by “Mom” officially declared the most promising filmmaker in the world under 30. This is his fifth feature, which all four were taken out to the film festival in Cannes. This harvested deserved award there in spring.
Young Dolan has rarely allowed himself to stop by the art of limitation, neither in ambition, scope or thematic. Compared with his hitherto “greatest” film, it almost three hours long drama about a transsexual, “Laurence Anyways” (2012), appears “Mom” as his best and most concentrated film in style and games.
Anne Dorval plays the mother of the 14-year-old problem child Steve, who at the film’s start emitted by institution, to move in with her mother. The game between the two, is alone worth the film. She as unstable happy-go-lucky-woman receiving professional life and social life hanging in increasingly thinner line, after which the hyperactive son takes her life.
Dolan is very good to use music on film. Here he shows moreover visual ingenuity and brilliance by starting the story in a hap- pen “cramped” format, as the eminent show conveys the caged energy of the precocious boy. When the film in an amazing scene expands canvas, created one of the most liberating scenes in cinema this year.
It’s a soreness and frenetic energy in the portrayal of a troubled mother-son relationship for good and bad. Both mother and son are types we rarely encounter in starring in the movies. Script, direction and move to Dorval and young Antoine Olivier Pilon makes “Mom” to a film that quivers with distinctive energy. Inside Locked feelings, rut and a mommy who did not extend to mix into an inimitable cocktail of a movie, the sound of Céline Dion. Xavier Dolan, ie.
Reviewed by TERJE EIDSVÅG
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