Mommy Movie

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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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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
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Steve Després: We still love each other, right?
Diane 'Die' Després: That's what we're best at, buddy.

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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). "La belle famille de Mommy". Le Devoir. Archived from the original on 27 August 2016. Retrieved 16 August 2016.
^ a b Kelly, Jeanette (9 September 2014). "Xavier Dolan brings Mommy back home to Montreal". CBC News. Archived from the original on 19 January 2016. Retrieved 16 August 2016.
^ Lattanzio, Ryan (19 January 2015). "Xavier Dolan Gets Real, Reveals 'Mommy' Oscar Jitters, 'Tom at the Farm' Whereabouts and More". IndieWire. Archived from the original on 22 August 2016. Retrieved 16 August 2016.
^ O'Falt, Chris (8 Jan
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Mommy Movie