THE DARK OF THE MATINEE

A widowed single mother, raising her violent son alone, finds new hope when a mysterious neighbour inserts herself into their household.
Written & Directed by Xavier Dolan

“Mommy” is a monumental masterpiece. It’s a film you can feel, almost as if it is reaching out to you, and you’re reaching back. A connection between the viewer and the film. It feels alive; it’s a film that, at certain sensational moments, you can feel it breathe. It’s difficult to describe the raw power of “Mommy” with words; it just takes your breath away..

“I WILL GO DOWN WITH THIS SHIP AND I WON’T PUT MY HANDS UP AND SURRENDER; THERE WILL BE NO WHITE FLAG ABOVE MY DOOR- I’M IN LOVE AND ALWAYS WILL BE.”

Xavier Dolan is perhaps one of the most unique, talented and stylised filmmakers working today; nitially bursting onto the scene with “J’ai tué ma Mère (I Killed my Mother)” and continuing to release consistently strong films almost every year.

Dolan’s films are usually superbly surreal as well as being achingly authentic, drawing off of real experiences and relationships as well as an almost youthful imaginative flare; “Mommy” is no exception to this striking tone. Set in a fictional, almost dystopian
version of Canada, the feature tells a beautifully human story of family, love, hope and freedom.

“I AM FOLDED AND UNFOLDED AND UNFOLDING, I AM COLOURBLIND”

Every single aspect of this film is just Flawless.The cinematography is stunning, and it’s magnified by the gorgeous colours and innovative stylistic choices, specifically the judicious experimentation with Aspect Ratio.

Most of the feature is presented in a 1:1 aspect ratio, generally unheard of in cinema; Dolan uses this unique device perfectly, using marvellous framing and cinematography to produce profound images. Dolan measures what can and can’t be seen in the frame, carefully aware of making every shot a work of art.

However, Dolan incorporates shifting aspect ratios to mirror the emotional state of the characters, similar to his other film “Tom à la Ferme (Tom at the Farm)” where the aspect ratio shifted to a thin sliver of perception, emphasising the compressing emotional tension.

Nonetheless, in “Mommy” the meaning of these contrasting frame sizes are very different. The 1:1 representing the crushing pressures of motherhood and the claustrophobic nightmares of this seemingly inescapable situation, but during moments of pure emotion the aspect ratio will stretch to 16:9, even at one point it is pushed apart by the character Steve. And when the aspect ratio is pulled open, spilling the possibilities of the world wide-open across the screen, I was filled with a liberating feeling, emotional freedom, an overwhelming flood of emotion, impossible to do justice with words, a feeling that made me well up with untamed sentiment as the film seemed to gasp for air, finally free to breathe, free from the confining pressures of society. It’s unbelievable.

A film that exists to evoke emotion as well as being that emotion. I felt the film, the power rung through my body like a glorious cry of relief. And then, when the aspect ratio is compressed again, shrinking back to 1:1, I felt that; I felt the loss of hope as the screen returned to its original confined formation.This shift in aspect ratio occurs twice in the film, and both times it is just as poignant.

“ON NE CHANGE PAS, ON MET JUSTE LES COSTUMES D’AUTRES SUR SOI”

Dolan’s script is so tightly crafted, intimately authentic and human, a perfect counterpoint to his dreamy presentation. You can see Dolan has drawn on his own life experiences, as every interaction and line of dialogue is so honest and natural. His writing includes marvellous characterisation and is very smart, thematically rich, dramatic, occasionally humorous and ultimately devastating.

It’s a tale of hope, emotional release, freedom and strength through unparalleled maternal love, in a world where no one seems to care. It tackles the painfully real subject of the lack of care for mentally challenged teens and their family.

Family is very important in “Mommy”, the three protagonists forming an atypical family group, their profound traits and flaws coming together, through violence and dysfunction, to support each other, even though this family can’t last forever.

As highlighted in Die’s affecting speech at the end, “Mommy” is a film about holding onto family and hope, even in a world where everything is against you. The actors do Dolan’s screenplay astounding justice with their absolutely mind-blowing performances, building on the visceral and fantastical tone Dolan has captured.

Xavier Dolan not only wrote, directed and worked on costumes for “Mommy”, he also edited it, and did an exceptional job. The meticulous and precise editing produces a captivating pace as well as some unbelievable emotional builds; the use of slow-motion and montage sequences are very memorable, stylish and powerful.

Dolan has such a distinct vision, making every moment truly incredible. “Mommy” is like a series of brilliant moments edited together to become a magnificent whole, like the gaudy shades of paint that make up a portrait.

All these fantastic filmmaking qualities are heightened by the appropriately selected soundtrack, that represents Steve’s mixtape given to him by his now-deceased father; the tracks both compliment and contrast, building on the pure emotional energy of the film. Every song that plays is just perfect for that moment. All these amazing aspects of the film culminate into one of the greatest experiences ever. It’s unforgettable.

A perfect example of this culmination is the beautiful flash-forward dream sequence towards the end of the feature. It’s a masterful blend of everything great about this film. As the sequence begins, the majestically melancholy classical piece by Ludovico Einaudi called “Experience” begins to play, as a car full of this new, dysfunctional family, going on a journey drives from the comfort of home. The aspect ratio widens, stretching out across the screen, filling the viewer with overpowering emotion caused by the liberating feeling of this new space. Then it begins.

“BECAUSE MAYBE, YOU’RE GONNA BE THE ONE THAT SAVES ME… AND AFTER ALL, YOU’RE MY WONDERWALL”

A dream sequence from Die’s perspective as she ponders on an ideal future, a future where the world is kind and Steve grows up to be a successful person, who has overcome their destructive nature. Images flash across the screen, amazingly edited in time to the music; gaudy and glamorous colours burn before your very eyes as this montage builds in emotional intensity, piling up the touching weight of this freeing dream. It’s a moment of pure hope, powerful human optimism. It’s overwhelming. It’s so poignant.

And then the aspect ratio begins to close. And this hopeful and liberating moment is then followed by the most hopeless part of the film. Captivity. And a loss of this family we’ve been taught to love and trust. It’s a devastating commentary of the cruelness of this hopeless world and the disregard of those who can’t fit in.

And at the final scene, as “Born to Die” by Lana Del Rey plays and Steve makes his final sprint for hope and liberty, tears streamed down my face, because I knew I
had seen something incredible. “Mommy” is innovative, engrossing and emotional. “Mommy” is a Landmark in Cinema. “Mommy” is a film I’m very comfortable calling a masterpiece.

10/10

“CUS’ YOU AND I, WE WERE BORN TO DIE”