French Mom Son

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Ma Mère (English: My Mother) is a 2004 French film about the incestuous relationship between a 17-year-old boy and his attractive, promiscuous, 43-year-old mother. The film stars Isabelle Huppert, Louis Garrel and Emma de Caunes. French director Christophe Honoré, who wrote the screenplay, based it on the controversial and posthumous 1966 novel of the same name by French author Georges Bataille. Honoré shot the film on location on the island of Gran Canaria, Canary Islands, Spain. Its dialogue is almost entirely in French with brief segments in Spanish, German and English. Film distribution company TLA Releasing released Ma Mère in France, at the Cannes Film Market, on 13 May 2004.
The story revolves around pious, young Pierre (Louis Garrel) who has just left a Catholic boarding school to live with his wealthy parents at their villa on the island of Gran Canaria. Pierre's father (Philipe Duclos) dies, leaving his mother Hélène (Isabelle Huppert) to care for him. While in a restaurant, his mother reveals to him that she had been unfaithful to her husband many times with his knowledge and feels no shame about it. She then insists that her son accept her promiscuous ways. Soon after this, Pierre finds a closet full of his father's pornography. His reaction is to furiously masturbate and then to urinate on the magazine pages.
Hélène encourages her uninhibited sex partner Réa (Joana Preiss) to have sex with Pierre. She does so in public at Gran Canaria's Yumbo Centrum, a popular shopping and nightlife complex. Hélène looks on longingly as the partially clothed couple copulates with passersby raising no objections.
Afterwards, Hélène includes her son in an orgy with her friends, including Hansi (Emma de Caunes). After the orgy, Hélène decides that she must leave her son to travel. While saying goodbye to Pierre, she implies that something taboo has happened between them and that she must leave to prevent it from happening again.
Upon Hélène's departure, Hansi enters Pierre's life as a friend. She admits befriending Pierre at Hélène's encouragement but denies receiving a fee from her. Their friendship blossoms into a tender romance and they both fall in love. During their relationship, Hansi reveals that she has participated in sado-masochistic sex many times as a dominatrix with her friend Loulou (Jean-Baptiste Montagut) as the willing masochist. She adds Hélène arranged these encounters as sexual exhibitions for tourists.
Hélène returns home with Réa. Upon arriving, she finds her son and Hansi socializing at a bar near the villa. Hélène and Pierre greet each other and chat while gazing into each other's eyes, with Hansi looking on jealously. Hélène invites her son to sleep with her. He agrees.
Hélène and Pierre enter the house's wine cellar. Hélène asks her son to cut her abdomen with a razor while he masturbates and as he climaxes she slits her own throat. Paramedics take away her body. Pierre says good-bye to his mother before the cremation. He enters the room where she lies in state and masturbates exclaiming that he does not want to die as he is carried out.
Ma Mère was rated NC-17 when it was released in the United States. The reason was "strong and aberrant sexual content".[3] For the trailer the film was presented as an NC-17 film while mistakenly defining the rating as "under 17 requires supervision by parent or guardian" (which is the definition of the R rating). An edited R-rated version running ten minutes shorter was released on DVD. The reason for the R rated version was "Strong Aberrant Sexuality, Some Language and Violent Images".
This section needs expansion. You can help by adding to it. (August 2017)
Rotten Tomatoes gives the film an approval rating of 14% based on reviews from 43 critics. The site's consensus reads "Pretentious, overly perverse and dull."[4] On Metacritic the film has a score of 35% based on reviews from 19 critics, indicating "generally unfavorable reviews".[5]
Scott Foundas of Variety called it "Respectable, tightly coiled, but ultimately unrewarding."[6][3]
Jonathan Romney, associated the film with the New French Extremity.[citation needed]
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A widowed single mother, raising her violent son alone, finds new hope when a mysterious neighbor inserts herself into their household.
Forty-six year old Diane Després - "Die" - has been widowed for three years. Considered white trash by many, Die does whatever she needs, including strutting her body in front of male employers who will look, to make an honest living. That bread-winning ability is affected when she makes the decision to remove her only offspring, fifteen year old Steve Després, from her previously imposed institutionalization, one step below juvenile detention. She institutionalized him shortly following her husband's death due to Steve's attention deficit hyperactivity disorder (ADHD) and his violent outbursts. He was just kicked out of the latest in a long line of facilities for setting fire to the cafeteria, in turn injuring another boy. She made this decision to deinstitutionalize him as she didn't like the alternative, sending him into more restrictive juvenile detention from which he would probably never be rehabilitated. However, with this deinstitutionalization, she has to take care of him which means only being able to do home based work. Despite they always yelling expletives at each other and Steve sometimes demonstrating those violent tendencies toward her, Die and Steve truly do love each other, his emotions which are sometimes manifested as an Oedipus complex especially as he seems to need her complete attention most specifically when it is being directed at possible male suitors. Their lives, both individually and as a family, are affected with the entrance of two of their neighbors. The first is Paul, a lawyer, who does have that sexual interest in Die as he tries to help Steve through his legal problems. The second and more important is Kyla, who lives across the street with her husband Patrick and their adolescent daughter, they who are in transit in their life to wherever Patrick's job will take them. Kyla is a high school teacher on sabbatical as she deals with her own emotional issues, which are manifested in stuttering whenever she feels incapable of dealing with her life. Kyla may find that she needs the Després as much as they need her.—Huggo
Rated R for language throughout, sexual references and some violence
Most of the film is presented in a 1:1 aspect ratio, where the "viewing area" of the screen is a perfect square.
Kyla: Loving people doesn't save them
Childhood
Written and performed Craig Armstrong
The movie 'Mommy' written and directed by Xavier Dolan takes place in an alternate version of Canada where any parent has the option to rid themselves of their troublesome children by sending them to an institution. One of the movies main characters Diane Després finds herself in exactly that situation when her son Steve who has ADHD gets out of a youth detention center. Immediately Diane is presented with the option to send Steve away, but his undying love for his mother paired with her own stubbornness and pride stops her from making such a drastic decision. Right from the start this unique family seems to be heading into a disaster but things change when a mysterious neighbour inserts herself into the lives of Diana and Steve.

The concept of a mother struggling with a troublesome child is not all that unique, and even though this movie has quite a few interesting story elements up its sleeve, at its core it still is a film about a dysfunctional family that has been told many times before. That is not to say that this movie is as mundane as possible since the manner the story is presented in is anything but generic. Characters are extremely well defined and never seem to say or make any decisions which one could consider inconsistent with their usual behavior. The exposition necessary to set up these characters is masterfully woven into the dialogue. The movie never really goes out of its way to tell the viewer something about the characters and instead lets it happen naturally throughout its runtime.

What makes the characters even better are the amazing actors portraying them. The actress Anna Dorval does an excellent job at showing the human side of Diane. Often times when her character is either laughing or crying it comes off as genuine so genuine in fact that it is not hard to forget that you're watching a movie and not a documentary. Even when her character is not speaking it is quite clear that internally she is struggling with the decision to send her son away in order to live a normal life. This struggle also resonates within the viewer via Antione-Olivier Pilon's portrayal of Steve. There is always a noticeable sense of built up frustration and when his violent nature paired with his ADHD sends him on a tantrum his anger seems real and almost scary at times. Afterwards there is always a small sense of regret when he sees the fear he induced into his mother. The mysterious neighbour Kyla is not as on the forefront as Steve or Diane as she is more of an introvert. That is not to say that this character is very forgetful as Suzanne Clément, the actress behind Kyla, masterfully shows that there is more to her character than first meets the eye. Every performance on its own was very good, but what's even better is the way the director shows the relationship they have with one another. As a family, albeit a dysfunctional one, Steve and Diane really come off as one that probably exists somewhere in this world and the interplay between them and Kyla is also very believable.

Almost the entire movie is filmed with an aspect ratio of 1:1. Characters are literally locked up in a little box in the same way as they are locked up in a lifestyle they cannot get out of. Instead of it being a gimmick this feature almost comes off as its own character. Because of this small frame in a lot of scenes there really is only one character that appears on the screen at any given time. This really puts the emotions being portrayed at the forefront and further enhances the already great acting performances. As a viewer the small frame made me feel as if I myself was cramped into a little box. When things are looking up for Steve and Diane the frame widens and when the characters finally get their breath of fresh air the viewer experiences the same as they are finally able to escape from that little box they were trapped in. This aspect ratio does have its side effects though as it comes at the cost of the quality of some of the set-up shots. Some were still fairly well done however, but others probably would have turned out a lot better if it had been done in a regular aspect ratio. This is just a minor thing though as it really does not matter in the grand scheme of things.

What the movie also does not do well is the pace in which the story is told. The movie slows down tremendously just halfway through its runtime and again just before it reaches its ending point. These moments don't last long however as they are over just before the viewer would lose interest but the movie in its entirety would probably have benefited a lot if a good twenty minutes was scraped of its 139 minute runtime. All in all 'Mommy' is an extremely solid movie with great acting performances at its forefront. Xavier Dolan's incredible use of the aspect ratio provides a unique cinematic experience that is absolutely worth the watch.

My rating: 8/10
Canadian Producers C.S. Roy, Stéphanie Morissette Unveil Horror-ar Experience ‘V F C’
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