Mommy Dolan

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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.
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A whirlwind of emotion: Dolan's most affecting film
"What does anyone want but to feel a little more free." Godspeed You! Black Emperor.

Mommy is a film about extraordinary, ordinary people. Individual scenes may be small and everyday, but what Mommy has to say is bigger, deeper: about life itself. The film reminded me of the above quote and freedom and our quest for it is the biggest thing Mommy has to talk about for me. It's about this and also about love and family and how those closest to us are so entwined they're not entirely separate beings to us. It's easily Dolan's most affecting work to date because within it every scene stems from and is full of emotion and conveys this to the audience.

In fact the film is so filled with emotion it is hard to remember the extremes it reached. It is so devastating by the end that I had to really think back to recall how I'd laughed out loud earlier on. There is a lot of humour in the film (in its observation of characters and what they say and do, but the time that got me most of all was when two characters laugh so hysterically you can't help but laughing out loud too – there's a real danger of us all descending into uncontrollable laughter alongside the ladies on screen!) which made me glad to watch it in a full cinema where the reaction could be heard from the audience. Despite this, by the end Dolan puts you through the wringer, and all that is left is our heartbreak for his characters and that that quest could never be.

Dolan's characters, for me are always his greatest strength. Not so much the specifics of them (though I must say these three are unforgettable in that sense!) but how they work. Since his first film, he has managed to express often deep or complex aspects about who his characters (and thus, who we all!) are inside in a way where I feel it. It isn't a thing that is easy to talk about because for me Dolan can tap into the kind of things the people in his films are and feel and do that often defy rational logic but yet which we all understand totally. Wow, confusing, much?

Anyway, here too, Die, Steve and Kyla (all exceptionally portrayed) are the heart of the film. They all feel like real people and despite the 2.5 hour running time, somehow at the end of the film you feel they've been snatched away from you. All actors can convey so much in an expression or action that you feel a world of their emotion and understand things about them without them needing to be said.

The three main characters in the film all become tied to each other in a way where they're kind of enmeshed. This is most true with Steve and Die who I feel are not entirely two separate people. They are Son and Mother, but more than this – they are man and wife, lovers, little kids – sister and brother, he's prince to her queen and Steve can be the father and Die the child. He is she and she is he and this is a bond that is wrapped up in who these people are. This makes the love Dolan's familial pairings have for each other unbreakable. Steve and Die fiercely are protective of each other: above all else. Yet in this, as in Dolan's other films, people entwined together struggle to exist almost as one being when despite how interwoven they are, they are individuals too. How to be separate, yet one? Dolan's characters push each other away and pull each other tight but they can never be entirely individual, nor can they escape each other. This is for me the true link between all of Dolan's films thus far.

I just want to say something briefly about the very start to illustrate the detail I felt in the film, without describing every detail which would sound trite. Though we'll come to know Die, Mommy of the title as many things, here we are first introduced to her as Mommy: she is shown in a visual sense as the roots, the trunk of the family tree.

I guess I should talk about the fact that the film is shot in a square of screen and to be honest I barely noticed it until a truly glorious moment when the screen opens up as a character exclaims their freedom and we see our three leads feeling free fleetingly. It gave me chills. After this moment, when the screen closes again – now you feel what at least I hadn't really noticed until then – that this aspect ratio works as a visual representation of how trapped these characters are. The screen closes in at a time that truly illustrates this and from then on the black sides feel as though they're kind of that-which-will-remain- forever-unreachable. The only time the screen expands again attests to this for it is a character's dream of the future.

Mommy is pitched in an ordinary world, but at extremes of emotion, but at the core there is always honesty in what it says and it's this that for me makes Dolan a great filmmaker. Dolan gets people and when you understand people enough to not just make a film in which you care about the characters, but to make a film where no matter the character, their experiences resonate: then, you have something magic.

"What does anyone want but to feel a little more free." I quoted at the start. Though Mommy wends through humour to ultimate heartbreak, for moments in it its characters are free and perhaps through this as we escape in its world, it allows us to feel a little more free also?
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Xavier Dolan said that the unusual aspect for the film is because he wanted to amplify the emotions from the characters.

Diane 'Die' Després: You've been back 24 hours and this place is a slum! Tidy the hell up!
Steve Després: Wanna hold my dick when I piss, too?
Diane 'Die' Després: If it helps you aim!

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Official Trailer (2:31)|Мамочка (2014)
A widowed single mother, raising her violent son alone, finds new hope when a mysterious neighbor inserts herself into their household.

Mommy is a 2014 Canadian drama film written, produced, directed and edited by Xavier Dolan and starring Anne Dorval, Antoine Olivier Pilon, and Suzanne Clément. The story concerns a mother with a sometimes-violent teenage son, struggling to control his behaviour in a hypothetical future in which parents have the legal option to commit troubled youth to public hospitals.
22 May 2014 (Cannes)
19 September 2014 (Canada)
The story focuses on mother–son relationships, a reoccurring theme in Dolan's work, and also marks his fourth collaboration with Dorval and his third with Clément. Inspiration for this particular story was drawn from Dolan's discovery of Pilon and the music of Ludovico Einaudi. It was shot in Quebec in an unconventional 1:1 aspect ratio.
The film debuted at the 2014 Cannes Film Festival, where it won the Jury Prize. It subsequently became a critical and financial success, grossing over $13 million worldwide. Mommy went on to win numerous other awards, among them nine Canadian Screen Awards, including Best Motion Picture.
In a fictional outcome for the 2015 Canadian federal election, a political party comes to power and establishes a law called S-14, allowing parents of troubled children and limited finances to place their children in hospitals, without regard for fundamental justice.
After the law is passed, Diane "Die" Després, a widowed mother and 46-year-old journalist, picks up her son Steve, who has ADHD with violent tendencies, from an institution, in the aftermath of Steve starting a fire in which another youth was injured. Die brings Steve to their new home in Saint-Hubert and struggles to care for him under financial distress. When Steve gives her a cart full of groceries and a necklace reading "Mommy", Die suspects that he has stolen the latter. Enraged by the accusation, Steve begins choking her, and she defends herself by hitting him with a glass frame. Whilst chaos ensues, Kyla, a neighbour and teacher on sabbatical, shows up to tend to their wounds.
Kyla, who is dealing with a stuttering problem, begins to tutor Steve. After a disastrous tutoring session where Steve berates Kyla, she snaps and attacks him. After the confrontation, Steve mellows and indicates he is glad to know her and respects her wishes not to call her "babe". Although the three have bonded and their situation seems to improve, Die is served papers by the parents of the injured boy, indicating she and Steve are being sued for the injuries caused by his fire.
Die finds a lawyer willing to help them and the three of them go out for the evening for something to eat. They end up at a karaoke bar, where Steve is increasingly agitated by the atmosphere and what he sees as his mother's sexual interest in the lawyer. Steve decides to sing, but is taunted by the audience, leading to a fight. Steve, Die and their lawyer argue, ending with Die slapping the lawyer in retaliation for slapping Steve, driving the lawyer away.
Die continues to try and help her son and rebuild their lives, but while out shopping, with Steve and Kyla, Steve disappears and slits his wrist. Although he survives, Die later finds herself reflecting on all the dreams she had for her son to live a fulfilled, happy life. She finally drives to a hospital to commit him under S-14; Steve angrily resists, and she begins to regret the decision when she helplessly watches the officials use violence and tasers to subdue him.
Kyla announces she is moving to Toronto and Die encourages her, expressing hope for Steve, but after Kyla makes a faux-pas about 'abandoning her family', Die privately breaks down in tears. Back at the hospital, Steve is being unstrapped from the straight-jacket by officials. Immediately after the straps are removed, Steve flees, running towards a large window.
Director Xavier Dolan wrote the screenplay, though he said at the time he had never known a person with attention deficit hyperactivity disorder or the same behavioural disorders that the character Steve exhibits.[5] However, Dolan said his own mother is an inspiration for his writing.[6]
With Dolan acknowledging mother-son relationships have always been an underlying theme in his work, the specific idea for Mommy came about after directing Antoine Olivier Pilon in the music video for "College Boy" by Indochine, finding him to be a great actor.[7] Inspired by another song, "Experience" by Ludovico Einaudi, he wrote a scene about a mother fantasizing about a future with her son that will never come to be, and wrote a story around it. Dolan stated it was important to show how unpredictable mental illness can be in a home.[7] The concept of the S-14 law was inspired by an article he had read about a mother who used a law to transfer custody of a child to the state, although in an interview with Le Devoir, Dolan could not recall which country this happened in.[8]
Mommy was filmed in Longueuil, Quebec.[9] Dolan said that when filming, the actors and crew were often rewriting their lines.[10] In casting actresses Anne Dorval and Suzanne Clément, whom Dolan had worked with before, he assigned them roles that he felt were the opposite of what each had previously played.[8]
The film was shot with a handheld camera,[5] in a 1:1 aspect ratio, although most modern films are shot in 1.85:1 or 2.35:1 aspect ratios. On the unusual aspect ratio, Xavier Dolan said, "I know a lot of people are saying, 'Oh, 1:1, how pretentious.' But for me, it seems a more humble and private format, a little more fitting to these lives we're diving into. Cinemascope [2.35:1] would have been extremely pretentious and incompatible for Mommy. To try to get in that apartment and film these people in that aspect ratio would have been unseemly."[11] He also said cinematographer André Turpin had long wanted to experiment with the format.[12] Dolan denied the ratio was meant to invoke the website Instagram, emphasizing this is the original aspect ratio in film history.[13]
The film premiered on 22 May 2014, at the Cannes Film Festival, concluding with a 13-minute standing ovation.[14] The film opened in Montreal on 8 September,[9] and in Toronto on 3 October.[15] In France, the film was distributed by Diaphana Films, with associate company agnès b. selling Mommy necklaces to promote the film.[16] The film's U.S. distributor Roadside Attractions waited until 2015 for its release.[16]
The film became available on the U.K. Netflix in 2016, with Dolan publicly criticizing the company for altering the unconventional aspect ratio and demanding, "Take it as it is, or remove it."[17] Netflix corrected the ratio hours later.[18]
On its opening weekend in Quebec, the film grossed $471,902.[16] Mommy was Dolan's first film to achieve success at the box office, grossing over $3.5 million domestically in 2014, becoming the highest-selling film in Quebec for 2014.[19] In Canada alone, it reached the $2 million gross on 16 October.[16]
According to the Montreal Gazette, over one million people went to see the film in France.[19] The film ended its run on 19 March 2015 after making $3.5 million in North America and $9.6 million in other territories, for a worldwide total of $13.1 million.[3]
On Rotten Tomatoes, the film received an approval rating of 88%, with an average score of 7.86/10 based on 129 reviews; the site's consensus states: "As challenging as it is rewarding, Mommy finds writer-director Xavier Dolan taking another impressive step forward".[20] On Metacritic, the film holds an average score of 74, based on 34 critics, indicating "generally favorable reviews" in accordance with the website's standards.[21]
In Canada, David Berry of the National Post gave the film four stars, writing, "As a movie, Mommy is a very similar thing to its namesake jewellery, a flashy, scary, gorgeous little piece of home, a shiny bauble that still manages to hang very close to the heart".[22] Brendan Kelly of the Montreal Gazette gave it five out of five stars, calling it "the absurdly prolific young auteur’s best film yet" and "an ode to the strength of tough working-class single mothers everywhere", and praising Anne Dorval as "extraordinary".[23] Brian D. Johnson of Maclean's credited Dorval for an award-worthy "powerhouse performance". Johnson saw Mommy as more mature than Dolan's previous I Killed My Mother, writing "the tables are turned" in writing the film from the mother's perspective.[24] Peter Howell of the Toronto Star gave the film four stars, saying its smartphone-style picture made it timely and concluding it was "one of the best movies of the year, period".[25] Liam Lacey at The Globe and Mail gave the film three stars, calling the introductory information about S-14 "clumsy", but added "What makes the flaws forgivable is Dolan's love of his characters".[26]
On 21 May 2014, Mommy received a four-star rating from The Guardian reviewer Peter Bradshaw, who described the film as "a splashy, transgressive treat, from trailer-trash chat to unexpected sex and surprising emotional depth".[27] Following Dolan's receipt of the Jury Prize at the 2014 Cannes Film Festival, Guardian writer Xan Brooks introduced the film as "a boisterous Oedipal comedy".[28] Peter Debruge of Variety called it "A funny, heartbreaking and, above all, original work".[29] Mark Olsen of the Los Angeles Times wrote the film "feels like nothing less than Dolan's magnum opus, for the time being at least".[13] Sandra Hall of the Sydney Morning Herald wrote that while she initially found there was "too much noise, too many emotional eruptions and too many tone-deaf subtitles", she found Pilon and Dorval's performances to be "remarkable".[30] Peter Travers of Rolling Stone gave the film three and a half stars, calling it rattling.[31] The Wall Street Journal's Joe Morgenstern, while finding the acting "powerful", found fault in the aspect ratio.[32] Richard Brody of The New Yorker panned the film, saying the depiction of Steve "has no basis in psychology; rather, it appears as Dolan's own pseudo-transgressive artistic tantrum".[33]
The film was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival,[34] where it won the Jury Prize.[35] The film also won nine awards at the 3rd Canadian Screen Awards in 2015, including Best Motion Picture[36] and 10 awards at the 17th Jutra Awards, including Best Film. It was also Best Foreign Film at the 40th César Awards.
Mommy was selected as the Canadian entry for Best Foreign Language Film at the 87th Academy Awards, but was not nominated.[37][38] The film was included in the list of "Canada's Top Ten" feature films of 2014, selected by a panel of filmmakers and industry professionals organized by TIFF.[39][40]
Sylvain Brassard, Jo Caron, François Grenon and Luc Landry
Sylvain Brassard, Benoît Dame, Isabelle Favreau and Guy Francoeur
Best North American Independent Film
Best Screenplay for a Canadian Film
^ "Mommy (15)". British Board of Film Classification. 29 January 2015. Archived from the original on 19 April 2015. Retrieved 29 January 2015.
^ Daudens, Florent; Niosi, Laurence (26 May 2014). "Mommy et les autres : combien coûte un prix à Cannes?". Ici.radio-canada.ca. Archived from the original on 19 December 2014. Retrieved 20 February 2015.
^ a b "Mommy (2014)". Box Office Mojo. Archived from the original on 5 March 2016. Retrieved 17 August 2016.
^ @xdolan (1 October 2014). "non. Steven Chevrin. Un très beau mannequin alors je suis flatté merci!" (Tweet) – via Twitter.
^ a b Seymour, Tom (10 March 2015). "Xavier Dolan: 'I just want to express myself – like Madonna'". The Guardian. Archived from the original on 16 August 2016. Retrieved 16 August 2016.
^ Szklarski, Cassandra (1 March 2015). "Xavier Dolan's Mommy wins best picture at Canadian Screen Awards". The Globe and Mail. Archived from the original on 15 September 2016. Retrieved 16 August 2016.
^ a b Slotek, Jim (1 October 2014). "Xavier Dolan revelling in 'Mommy's' success". Toronto Sun. Archived from the original on 19 September 2016. Retrieved 16 August 2016.
^ a b Lévesque, François (13 September 2014).
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Mommy (2014) - IMDb
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Mommy Dolan