[go: up one dir, main page]

    Kalender veröffentlichenDie Top 250 FilmeDie beliebtesten FilmeFilme nach Genre durchsuchenBeste KinokasseSpielzeiten und TicketsNachrichten aus dem FilmFilm im Rampenlicht Indiens
    Was läuft im Fernsehen und was kann ich streamen?Die Top 250 TV-SerienBeliebteste TV-SerienSerien nach Genre durchsuchenNachrichten im Fernsehen
    Was gibt es zu sehenAktuelle TrailerIMDb OriginalsIMDb-AuswahlIMDb SpotlightLeitfaden für FamilienunterhaltungIMDb-Podcasts
    OscarsEmmysSan Diego Comic-ConSummer Watch GuideToronto Int'l Film FestivalSTARmeter AwardsAwards CentralFestival CentralAlle Ereignisse
    Heute geborenDie beliebtesten PromisPromi-News
    HilfecenterBereich für BeitragendeUmfragen
Für Branchenprofis
  • Sprache
  • Vollständig unterstützt
  • English (United States)
    Teilweise unterstützt
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Watchlist
Anmelden
  • Vollständig unterstützt
  • English (United States)
    Teilweise unterstützt
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
App verwenden
  • Besetzung und Crew-Mitglieder
  • Benutzerrezensionen
  • Wissenswertes
  • FAQ
IMDbPro

Mommy

  • 2014
  • 12
  • 2 Std. 19 Min.
IMDb-BEWERTUNG
8,0/10
64.372
IHRE BEWERTUNG
BELIEBTHEIT
4.862
144
Antoine Olivier Pilon in Mommy (2014)
A widowed single mother, raising her violent son alone, finds new hope when a mysterious neighbor inserts herself into their household.
trailer wiedergeben2:31
8 Videos
99+ Fotos
Drama

Eine verwitwete Mutter, die ihren gewalttätigen Sohn alleine aufziehen muss, schöpft neue Hoffnung, als eine mysteriöse Nachbarin sich in ihren Haushalt einbringt.Eine verwitwete Mutter, die ihren gewalttätigen Sohn alleine aufziehen muss, schöpft neue Hoffnung, als eine mysteriöse Nachbarin sich in ihren Haushalt einbringt.Eine verwitwete Mutter, die ihren gewalttätigen Sohn alleine aufziehen muss, schöpft neue Hoffnung, als eine mysteriöse Nachbarin sich in ihren Haushalt einbringt.

  • Regie
    • Xavier Dolan
  • Drehbuch
    • Xavier Dolan
  • Hauptbesetzung
    • Anne Dorval
    • Antoine Olivier Pilon
    • Suzanne Clément
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    8,0/10
    64.372
    IHRE BEWERTUNG
    BELIEBTHEIT
    4.862
    144
    • Regie
      • Xavier Dolan
    • Drehbuch
      • Xavier Dolan
    • Hauptbesetzung
      • Anne Dorval
      • Antoine Olivier Pilon
      • Suzanne Clément
    • 107Benutzerrezensionen
    • 264Kritische Rezensionen
    • 74Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 58 Gewinne & 65 Nominierungen insgesamt

    Videos8

    Official Trailer
    Trailer 2:31
    Official Trailer
    International Trailer
    Trailer 3:13
    International Trailer
    International Trailer
    Trailer 3:13
    International Trailer
    Streaming Passport to Canada
    Clip 6:08
    Streaming Passport to Canada
    Cake Time
    Clip 1:38
    Cake Time
    We Good
    Clip 0:52
    We Good
    Mommy: Who's Your Daddy (US)
    Clip 1:26
    Mommy: Who's Your Daddy (US)

    Fotos152

    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    + 146
    Poster ansehen

    Topbesetzung34

    Ändern
    Anne Dorval
    Anne Dorval
    • Diane 'Die' Després
    Antoine Olivier Pilon
    Antoine Olivier Pilon
    • Steve O'Connor Després
    Suzanne Clément
    Suzanne Clément
    • Kyla
    Patrick Huard
    Patrick Huard
    • Paul
    Alexandre Goyette
    Alexandre Goyette
    • Patrick
    Michèle Lituac
    • Directrice du centre correctionnel
    Viviane Pacal
    Viviane Pacal
    • Marthe
    Natalie Hamel-Roy
    Natalie Hamel-Roy
    • Natacha
    Isabelle Nélisse
    Isabelle Nélisse
    • Fille de Kyla
    Ted Pluviose
    Ted Pluviose
    • Chauffeur de taxi
    Pierre-Yves Cardinal
    Pierre-Yves Cardinal
    • Gardien de sécurité #1
    Reda Guerinik
    Reda Guerinik
    • Gardes de securite
    Justin Laramée
    Justin Laramée
    • Gardes de securite
    Sabrina Bisson
    • DJ Karaoke
    Huguette Gervais
    • Calssiere librairie
    Vincent Fafard
    Vincent Fafard
    • Joueur de billard
    Jean-Philippe Baril-Guérard
    Jean-Philippe Baril-Guérard
    • Joueur de billard
    Dominic Desnoyers
    • Joueur de billard
    • Regie
      • Xavier Dolan
    • Drehbuch
      • Xavier Dolan
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen107

    8,064.3K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Empfohlene Bewertungen

    6g_imdb-43

    "Killing" mommy was better than living with her!

    I've now seen four Xavier Dolan films; "I Killed my Mother" was my first (his too ;), and I thought it was a much better film. Although there are great similarities in the characters' dynamics, the characters in "I Killed my Mother" were simply more believable, and that made their plight - and the story - more interesting.

    "Steve" in this movie has such a weird mania: he seems to know when he's being super-anti-social but simply doesn't care. (Is it possible he's named after "Steve-O"?)

    I was surprised, in "I Killed...," how unlikable Dolan made his own character, but that story - about two people who had absolutely nothing in common but were forced to love each other anyway - seemed like a much truer story, and that movie also had genuine emotional moments - particularly the line "I would die tomorrow" (if you've seen it, you know). Where that movie was emotional, this movie is merely cringeworthy.

    I've seen 4 Dolan features so far (not in the order he made them), and this is the first one for me that didn't (a) feature Dolan himself in a staring roll, and (b) have a gay sub-plot in the story. Both of these were disappointing to me, although he does replace himself with a young actor who would be simply stunning, if he wasn't constantly mugging for the camera - which is still fine for the movie, since we see it as part of his mental disorder.

    Having seen previous Dolan movies, I've come to believe he "widens" the screen for fantasy scenes - this is clearly shown the second time in "Mommy" that he widens the screen, but I mention this to suggest that the mid-movie "Wonderwall" montage, which others have suggested was showing progress, is actually a fantasy.

    Speaking of screen shape - this movie may be square, but on a wide screen, it appears vertical. Obviously, Dolan was trying make us feel visually "trapped" in the story, the same as his characters. Like wiring theater seats for an electric shock, this technique does work, but whether it makes this a better "movie" is debatable. It's not a deal-killer, but I think it honestly makes the movie less-fun to watch, and what do we watch movies for, if not to have fun?

    Final comments on the beginning and ending (not really spoilers): The "alternative Canadian law" thing in the opening titles seems completely unnecessary, as "Steve" was more than dangerous enough for involuntary psychiatric commitment with or without an alternate universe. And the ending! Well... it seemed inevitable through the whole movie that it would end this way, because it really didn't have anywhere else to go. Even the final shot: seems it's been the final shot in many other movies with a similar subject. MANY other movies.

    So, not a bad art film, to be sure, but in my opinion, it's hardly Dolan's best movie, and certainly not his most accessible... I would NOT recommend it to anyone who's not already a fan.
    Red_Identity

    Phenomenal acting

    Not what I expected. It's a film that features quite a lot of dark elements, but the film somehow manages to be really touching in such an odd, but effective way. I don't think it's flawless. The script has a few cracks here and there, and it sometimes feels a bit aimless in what it's trying to say. I also very much enjoyed Dolan's directorial touches, but many times they're a bit jarring and too stylistic for its own good. However, what I will not at all criticize is that 4-minute sequence near the beginning of its third act (you know which one). That glorious score with those images created a profoundly moving sequence, one of the most emotionally powerful scenes of the year. But that's how a lot of the film is. I liked it a lot, but it can feel like many great individual scenes and yet not as cohesive as a whole

    The acting here is phenomenal though. The three leads and the places they go to are harrowing and they probably rise the material greatly. The ending was a bit too obvious and not very original, but I'll take it

    Not as enamored with it as most, but I still found it to be a truly incredible experience that is no doubt so inherently interesting and entertaining, much like the only other Dolan film I've seen Tom at the Farm.
    10nicholascarlson

    Anne Dorval is AMAZING

    Anne Dorval is far and away the best actress I have had the pleasure to watch in the past couple years. She was solid in J'ai tuer ma mere. She is explosive in Mommy! I haven't written a review yet but her performance encouraged me to do so. Antoine-Olivier Pilon was great, and Suzanne Clement was also top notch.

    I've never been so deeply affected by a movie. I went back and forth between laughter and tears throughout the entire movie. There were several scenes that I related to....

    Something that really resonated with me was the scenes where the 3 main characters were laughing, dancing, enjoying life. I personally have a hard time remembering the moments in my life where I was truly happy. I believe that is because in those moments I was so deeply immersed in conversation and laughter that my brain was incapable of creating a memory. While watching Mommy I wasn't able to remember those moments in my life but I was able to make the connection because the performances and script were so realistic. Thank you Xavier Dolan! Waiting for more...
    spiral_static

    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?
    10evanston_dad

    Phenomenal

    I had heard magnificent things about this 2014 film by Xavier Dolan, and I have to say after getting around to see it for myself that all of the praise is justified.

    "Mommy" is anchored by three absolutely phenomenal performances by Anne Dorval, Antoine Olivier Pilon, and Suzanne Clement. It tells the story of a mother's fierce and at times borderline inappropriate love for her delinquent son and a shy neighbor with a sketchy past who enters their closed circle and bonds with both of them. Dolan plays around with aspect ratios, filming most of the movie in claustrophobic squares and rectangles, but occasionally and gloriously opening up the frame when the troubled youth's world shows signs of promise. The movie explores the impossible and heartbreaking decisions parents must sometimes make for the sake of their children, and the ending Dolan chooses for each of his characters is emotionally stirring in its own unique way.

    Grade: A+

    Mehr wie diese

    I Killed My Mother
    7,4
    I Killed My Mother
    Laurence Anyways
    7,6
    Laurence Anyways
    Einfach das Ende der Welt
    6,8
    Einfach das Ende der Welt
    Herzensbrecher
    7,0
    Herzensbrecher
    Sag nicht, wer du bist!
    6,9
    Sag nicht, wer du bist!
    Matthias & Maxime
    6,8
    Matthias & Maxime
    Amira & Sam
    6,2
    Amira & Sam
    The Search for General Tso
    6,9
    The Search for General Tso
    Die Klavierspielerin
    7,5
    Die Klavierspielerin
    La nuit où Laurier Gaudreault s'est réveillé
    7,4
    La nuit où Laurier Gaudreault s'est réveillé
    Die geliebten Schwestern
    6,2
    Die geliebten Schwestern
    Das Geheimnis des Baletttänzers
    6,8
    Das Geheimnis des Baletttänzers

    Handlung

    Ändern

    Wusstest du schon

    Ändern
    • Wissenswertes
      Most of the film is presented in a 1:1 aspect ratio, where the "viewing area" of the screen is a perfect square.
    • Zitate

      Directrice du centre correctionnel: Loving people doesn't save them

    • Verbindungen
      Featured in WatchMojo: Top 10 Movies by Canadian Directors (2016)
    • Soundtracks
      Childhood
      Written and performed Craig Armstrong

    Top-Auswahl

    Melde dich zum Bewerten an und greife auf die Watchlist für personalisierte Empfehlungen zu.
    Anmelden

    FAQ19

    • How long is Mommy?Powered by Alexa

    Details

    Ändern
    • Erscheinungsdatum
      • 13. November 2014 (Deutschland)
    • Herkunftsland
      • Kanada
    • Offizielle Standorte
      • Official site
      • Official site (Japan)
    • Sprachen
      • Französisch
      • Englisch
    • Auch bekannt als
      • Мамочка
    • Drehorte
      • Montreal, Québec, Kanada
    • Produktionsfirmen
      • Les Films Seville
      • Metafilms
      • Sons of Manual
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Bruttoertrag in den USA und Kanada
      • 3.494.070 $
    • Eröffnungswochenende in den USA und in Kanada
      • 473.882 $
      • 21. Sept. 2014
    • Weltweiter Bruttoertrag
      • 13.156.856 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      • 2 Std. 19 Min.(139 min)
    • Farbe
      • Color
    • Sound-Mix
      • Dolby Digital
    • Seitenverhältnis
      • 0.56:1

    Zu dieser Seite beitragen

    Bearbeitung vorschlagen oder fehlenden Inhalt hinzufügen
    • Erfahre mehr über das Beitragen
    Seite bearbeiten

    Mehr entdecken

    Zuletzt angesehen

    Bitte aktiviere Browser-Cookies, um diese Funktion nutzen zu können. Weitere Informationen
    Hol dir die IMDb-App
    Melde dich an für Zugriff auf mehr InhalteMelde dich an für Zugriff auf mehr Inhalte
    Folge IMDb in den sozialen Netzwerken
    Hol dir die IMDb-App
    Für Android und iOS
    Hol dir die IMDb-App
    • Hilfe
    • Inhaltsverzeichnis
    • IMDbPro
    • Box Office Mojo
    • IMDb-Daten lizenzieren
    • Pressezimmer
    • Werbung
    • Jobs
    • Allgemeine Geschäftsbedingungen
    • Datenschutzrichtlinie
    • Your Ads Privacy Choices
    IMDb, ein Amazon-Unternehmen

    © 1990-2025 by IMDb.com, Inc.