In a triple-threat feat, Dolan writes, directs and stars in J’ai tué ma mère, the semi-autobiographical tale of a young gay man coming of age while struggling with his tortured relationship with his mother.
Dolan plays Hubert, a cool and composed teenager who sports a Tears for Fears throwback hairdo. He bickers constantly with mom (Anne Dorval) about anything and everything, from the trivial to the profound. He’s also repulsed by her style – the plastic on the furniture, her repeated trips to the tanning salon. Not only is she disagreeable and unsupportive, but she’s also a kitsch monster. Their arguments are alternately hilarious and horrifying, reflecting the profound pain both mother and son are suffering through. When his teacher asks the class to write about what their mother does, Hubert can’t imagine even acknowledging he has one – so he writes that his mother is dead, managing to bury her in at least one part of his imagination.
Their fights escalate until mom hatches a toxic plan: Hubert will be shipped off to boarding school. He is aghast but has little choice, as mom has managed to convince her ex-husband that a change of scenery is in the lad’s best interests. Being banished to a mother-free zone might have seemed a good option for Hubert, but the move simply leads to an ultimate standoff between them. Dolan and Dorval navigate their way through the harried, increasingly vicious tête-à-têtes with delicacy, evoking sympathy for both characters. [Synopsis courtesy of the TIFF]
Sometimes, we’re just waiting for a miracle. A nurse who is a Jehovah’s Witness, grows fond of the miracle survivor of a plane crash. Two sexagenarians, a bartender and a parking lot attendant want to explore their forbidden passions. A conservative, well-off couple drown their disappointments in booze and gambling. And a man does his utmost to make amends for an irredeemable action, bringing us to a plane bound for Cuba. An ensemble film where every character affects the lives of others.
Xavier Dolan, Bruce Greenwood and Catherine Keener star in this big-screen adaptation of the play by Nicolas Billon about a psychiatrist who is drawn into a complex mind game when he questions a disturbed patient (Dolan) about the disappearance of a colleague. [Synopsis courtesy of Toronto International Film Festival]
Tom, a young advertising copywriter, travels to the country for a funeral. There, he’s shocked to find out no one knows who he is, nor who he was to the deceased, whose brother soon sets the rules of a twisted game. In order to protect the family’s name and grieving mother, Tom now has to play the peacekeeper in a household whose obscure past bodes even greater darkness for his “trip” to the farm. Long ways, long lies… Set in Quebec’s rural panorama, this psychological thriller centres on the ever-growing gap between city and country and the oppositive nature of men who live there. Stockholm syndrome, deception, grief and secretive savageries pervade this brief and brutal pilgrimage through the warped and ugly truth