Laurence Anyways

I finally watched Laurence Anyways & was not disappointed. The story had truth dripping from every fiber. I'm just blown away by the whole production. Some visually breathtaking scenes that create absolute magic are just the icing on the cake, top notch all the way. The acting was powerful & spot on, not once did I see the actors and not the characters. I'm not familiar with the director but based off of this movie I'm intrigued to look a little deeper.

Laurence Anyways should be destined to become a cult classic once it finds a wider audience, and not just in the gay/trans-gendered community. Calling it a potential cult classic doesn't do it justice though as it has the values of an Oscar contender in my opinion. If the story sounds in the least but interesting to you, you would be doing yourself a huge disservice to let this one pass you by. It's long at over two and a half hours but doesn't drag, it's one of those movies that you hope will never end.

Is this movie Canadian? The credits would suggest so, if it is it's the best Canadian movie I've ever scene (I'm Canadian & have seen more then a few). Don't let that sound like personal bias as I went in not knowing anything about it's production. If this movie doesn't (or hasn't) won awards then there is no justice in the world of cinema.

This is one of the most impressed movies that I've ever seen. This movie is about a couple, Laurence and Fred, who love each other and have been together for long time. One day, Laurence opens his heart to her that he wants to be woman. Fred confuses and thinks about their future. Then, Fred decides she becomes Laurence's best friend and she teaches him how to make up, but they are troubled by prejudices of the society. Also, the mood of this movie and camera-work are fresh. Many colors are used and music invites us into story, so we can't be bored in spite of complex story. The director of this movie, Xavier Dolan, became my favorite one after I watched this movie, and this is the most favorite one of his movies. Therefore, I want everyone to see this. I recommend very much, but you will be tired a little because you are dragged very much.

Coming out as a transsexual proves challenging for a high school teacher in this French Canadian drama directed by Xavier Dolan and starring Melvil Poupaud. He undergoes predictable trouble at work (though curiously from his colleagues - not his pupils who respect his courage) and ends up losing his job. His parents also expectedly reject him and he has trouble dining in public without someone making some comment about his looks. Not so expected though is Poupaud's long term girlfriend's decision to stick with him throughout his ordeal, and Suzanne Clément is superb as the young lady in question who, despite all doubts, claims to still need his "forearms". Set over a ten year period, the couple's relationship is tested at several points but their connection is absolutely undeniable and there is a potent scene in which they encounter another trans couple who claim that "gender is shallow" and it is "the person" who matters. Truer relationship advice may have never been said, but it is to the film's credit that it is does everything to challenge this, highlighting how difficult is for one to achieve happiness in a world full of societal expectations and heavily drilled norms. At nearly three hours long, the film runs a little long and is never quite as intense at it could be. The extra runtime allows Dolan to experiment with some neat stylistically touches though as things fall on the actors in slow motion to the tune of serene music. This in turn gives the film a dreamlike quality - rather fitting for a film about a human being realising his/her dreams beyond gender stereotyping.

With this film, Xavier Dolan confirms his excellent style. The starring is incredibly well-chosen (distinction for the actress). A photography without mistake, there are numbers of beautiful shots. And too a good soundtrack, that is very eclectic (french's or qubecois's songs, classical's songs as Brahm or Bethoveen, or rock ballads), and first and foremost an original screenplay. In fact, I found the plot very interesting because I don't know film about the transsexualism. For a discovery, we can't dream a better movie.

So, check out his film (Les amours imaginaires, J'ai tué ma mère are too to discover).

A young film maker watch this space. The Quebecois's cinema too.

It is Canadian prodigy Xavier Dolan's third feature, after I KILLED MY MOTHER (2009, 7/10) and HEARTBEATS (2010, 5/10), the first one he doesn't hog a leading role for himself. LAURENCE ANYWAYS chronicles a 10 year up-and-down relationship between Laurence Alia (Poupaud), a man with GID (Gender Identity Disorder) and determines to dress up like a woman, and his girlfriend Fred Belair (Clément) from 1989 to the looming millennium.

Scale wise it is Dolan's boldest and most ambitious one (save his two subsequent films TOM AT THE FARM 2013 and MOMMY 2014, which I haven't seen yet), extending around 168 minutes, Dolan strenuously spells out a panorama of struggles of Laurence and Fred, for the former, it is a life-or-death judgement call, without opening up to embrace his true id, life is pointless and meaningless to him; more thoughtfully and unconventionally, the film generously grants maximum space for the latter, to zoom in on Fred's striving for breath and co-existence when her world is equally capsized by the blunt decision made by the man she loves.

As early as the opening introduction of Laurence through onlookers (deceitfully) spontaneous responses till the very end, Laurence and Fred separately exit the barroom with posh slo-motion against the brisk gust, stylistically Dolan comes much more at ease with his ostentatious aesthetic codes, Day-Glo disco, subdued lighting, kitschy ornamentation, pop art, avant-garde tableaux vivant, chic party, campy or crammed locale confinement, highlighted by Les Five Roses, and all aided by a killing mixtape (from Fever Ray, The Cure, Visage to Moderat) to leaven the zeitgeist and propel the storytelling.

It is a pure melodrama, spearheaded by two impressive leading performances by Poupaud and Clément, especially the latter, her explosion which bookends the midway of this drawn-out feature is intensely electrifying and utterly breathtaking. She also impeccably handles the unvoiced implosion of her character, shepherded by hairstylists, costume designers and Dolan's unerring determination to lay bare all the subtlety with abstract symbolism and his own perceptive sensations.

Most of the time, Poupaud conceals his handsome contour under a ridiculous wig, heavy make- up doesn't help either, but nothing can hide Laurence's intrepidity, sensitivity and charm through his less flamboyant but more realistic rendition. Nathalie Baye, plays Laurence's negligent mother, pungently bespeaks both parenting and gender-identity are not innately fitting to anyone.

LAURENCE ANYWAYS is a solid corroboration of Dolan's prowess to explore and conquer a wider scope out of his comfort zone, visually distinct and artistically eclectic, although in any event he needs to be polished up a little bit and get himself out of the self-indulgent pitfall, let me just suppress a dash of jealousy and get ready to rejoice in the wunderkind's another output, hopefully is the much-anticipated TOM AT THE FARM.