4.5/5 Mommy At almost any point in time, in any country, it seems like there is some form of controversial legislation being passed. We take sides, either because we feel we must be loyal to our chosen political party, we have some deep-seeded conviction, or because our parents told us it’s right. Rarely, though, do we actually know the struggles of someone who the legislation actually affects. Sure, we can twist the truth enough to make it seem like every controversy affects us directly, but it doesn’t. Xavier Dolan’s crushingly emotional Mommy tells the story of one Canadian woman who does not have to stretch the truth. The struggle is her narrative, and it is a brutal one. The legislation in question concerns guardians with children they can no longer control. The law states that if the guardian feels like they are in physical danger, they can admit their child into a correctional facility without any court ruling. Such is the dilemma faced by Diane (Anne Dorval) when her son, Steve (Antoine-Olivier Pilon, nailing this Tasmanian Devil of terror) is kicked out of a youth correction school for starting a fire that resulted in one of his classmates being severely burned. Mother and son reunited, things go smoothly for about five minutes. Before they even make it home, Steve is beginning to lose control of his temper, throwing harsh explicits at his mother. | Director: Xavier Dolan Starring: Anne Dorval, Antoine-Olivier Pilon, Suzanne Clément Writer: Xavier Dolan |
It’s worth noting that his mother throws cutting insults right back at him. There is a mother-son love at the core of their relationship, but it is buried under resentment, loneliness, and grief - the husband/father died suddenly and left those in his wake in an emotional crisis. Steve resents his mother for sending him away to the first facility. Diane resents her son for standing in the way of her recovery and professional life. Mommy spends its long running time dissecting this frayed relationship, mostly from Diane’s point of view.
The most devastating and crucial observation Dolan makes is how Diane could continue to love this teenager, who verbally, emotionally, and physically torments her. She is not being pushed to the breaking point, she lives their permanently. He embarrasses her in front of men and friends, including Kyla (Suzanne Clément), a mother/teacher with her own set of problems that ends up being a major help to Diane and Steve.
Clément is a powerful presence, especially in one scene where Kyla confronts Steve after he taunts her about her own child, who she recently lost. It is yet another emphasis on the power of motherhood. Despite Clément’s excellence, this film belongs to Dorval. Dolan refuses to paint her as a saint (or Steve as a complete demon). In any scene, no matter where her character is at or how she is being represented at the time, Dorval never fails to step up to the challenge. Even when her character pushes the boundaries of good parenting, Dorval keeps Diane human above all else. She is relatable and real in all her flaws, and it is a beautiful site to behold, even when things get ugly.
I have focused on plot and character interaction, but what has everyone talking is the strange aspect ratio Dolan uses to project the majority of the film. Some of you may not know what I mean when I say the words "1:1 aspect ration,” but believe me when I say, I doubt you will have seen anything like it. You know how when you watch your DVD’s of old films on a widescreen TV? The picture you are seeing is a square with two black wings on either side. Now picture that square got even narrower, giving you a vertical rectangle of picture. Make that mental rectangle even narrower, and THAT is what 1:1 aspect ratio looks like. The film is peppered with the occasional widescreen scene, when Diane is feeling hopeful, but the screen always collapses back in on itself when Steve ruins that hope yet again. It’s a metaphor for the way Diane sees the world, crashing in around her, unable to escape. At 139 minutes long, that metaphor can get a little old, especially when you realize Dolan could have cut about half the slow-motion filler scenes of skateboarding.
These tiny problems mean nothing to the overall impact Mommy will have on you. This is a product coming from a twenty-five year old, and this is his fifth feature! If he can do this in five years of activity, there is no telling what his future holds. We could all use a little more artistic daring these days at the movies. The future’s looking bright.
(Available on iTunes)
The most devastating and crucial observation Dolan makes is how Diane could continue to love this teenager, who verbally, emotionally, and physically torments her. She is not being pushed to the breaking point, she lives their permanently. He embarrasses her in front of men and friends, including Kyla (Suzanne Clément), a mother/teacher with her own set of problems that ends up being a major help to Diane and Steve.
Clément is a powerful presence, especially in one scene where Kyla confronts Steve after he taunts her about her own child, who she recently lost. It is yet another emphasis on the power of motherhood. Despite Clément’s excellence, this film belongs to Dorval. Dolan refuses to paint her as a saint (or Steve as a complete demon). In any scene, no matter where her character is at or how she is being represented at the time, Dorval never fails to step up to the challenge. Even when her character pushes the boundaries of good parenting, Dorval keeps Diane human above all else. She is relatable and real in all her flaws, and it is a beautiful site to behold, even when things get ugly.
I have focused on plot and character interaction, but what has everyone talking is the strange aspect ratio Dolan uses to project the majority of the film. Some of you may not know what I mean when I say the words "1:1 aspect ration,” but believe me when I say, I doubt you will have seen anything like it. You know how when you watch your DVD’s of old films on a widescreen TV? The picture you are seeing is a square with two black wings on either side. Now picture that square got even narrower, giving you a vertical rectangle of picture. Make that mental rectangle even narrower, and THAT is what 1:1 aspect ratio looks like. The film is peppered with the occasional widescreen scene, when Diane is feeling hopeful, but the screen always collapses back in on itself when Steve ruins that hope yet again. It’s a metaphor for the way Diane sees the world, crashing in around her, unable to escape. At 139 minutes long, that metaphor can get a little old, especially when you realize Dolan could have cut about half the slow-motion filler scenes of skateboarding.
These tiny problems mean nothing to the overall impact Mommy will have on you. This is a product coming from a twenty-five year old, and this is his fifth feature! If he can do this in five years of activity, there is no telling what his future holds. We could all use a little more artistic daring these days at the movies. The future’s looking bright.
(Available on iTunes)