Juste la fin du monde

The story is familiar. because the portrait of dysfunctional family is not rare in the cinema of last decades. but the film has a fundamental virtue - it is a Xavier Dolan work. and that change everything. because not the conflicts, vulnerabilities, isolation, angry and fears, the return of the son are the basic aspects. but the precise and not comfortable image of loneliness. using admirable cinematography. the right actors. the close up. the forceof silence. the small gestures and shadows of memories. the admirable cold dialogues. and the last part as ideal building for a search who becomes out of target. a film who impress. not only for artistic value. but for remarkable science to present the things who are out of us being inside us. frustrations, intentions, the desire to be far by the other who could represent only the stranger. who is just an accident. so, a beautiful Xavier Dolan.

More like a stage play than a movie, about an extremely unlikable family. I wouldn't want to spend more than one minute in the company of any of them. All they do is shout at each other. I'm not surprised that Louis never visited them. Whether you watch this to the end or not depends on your tolerance for screaming idiots. My advice is ... don't.

Somehow even worse than your run-of-the-mill terrible movies. "Waterworld" and "Catwoman" are basically benign. Xavier Dolan, with his big name cast, his pretensions of art-house cinematography, his maudlin dialogue, and his iMovie sound mixing, really insults the moviegoers. He thinks we'll eat up this kind of crap-- and, if Cannes is any indicator, we totally have.

I really think that the only real pleasure anyone can derive from watching this Lifetime-Movie-knockoff of a film is by turning around in your seat and watching everyone try to maintain the 'studious cinephile' straight face while watching a slow-motion tear fall from Vincent Cassel's eye. There's also a winning bit with the "Numa Numa" song played over images of children frolicking through a field at dusk. Nostalgia.

Most of the critics did not like this movie. Their argument was that it had a great and promising cast, but that the combination didn't add up to much..a disappointment they said. Well, I do not agree at all. And after having seen "Mommy" I was convinced that the director couldn't have spoiled things going forward..if anything, he was even getting better. This is one of those movies that whispers something to you without you even knowing. A whisper about a dysfunctional family, wrong timing, memories trapped halfway between your throat and your mouth..Words left unsaid, and meanwhile, everyone eats, everyone smokes, lunch and dessert..white wine Not red. Old Home and the new.. An airport, a cup of coffee and a magazine. A song, a dance while the protagonist is standing outside looking inside himself while everyone is looking at him and staring, wondering why is he here and trying to read what he hasn't even written yet..They are all wondering whether he has the right to show up just like that after 12 years away from them. But isn't he the writer after all, the one with the burden..and the one with the choice? Should he or should he not? say something.. and why can't he leave just like he entered ...without disturbing the order of things. If only there was someone in the crowd who is able to understand his whisper, his slow gestures and his silent scream that keeps reverberating inside..and time strikes again and again. someone lifts him up under a gigantic blue sky. "Let's go for a drive". A drive down memory lane, a drive inside a family's heart, mind and soul. A highly emotional and daring movie, tensed, real, so real that it will take your breath away more than once. Highly recommended for its authenticity, great cast, pace, music, cinematography and the well deserved Jury Prize in Cannes 2016.

b.r.i.l.l.i.a.n.t! I saw this movie at TIFF on Sept. 17 and it was the first Dolan film I've seen. It deserves the award it received at Cannes! Despite all the shouting and intensity, this film conveys with subtlety, suggestive dialogue and glances, the range of emotions felt by different members of a family when there has been an unexplained loss of another family member. Even though the main character, Louis, is still alive and returns to the family, they react as if he has returned from an unexpected death. They range from guilt, rage, idealization, and denial.The close-up filming style also reveals each family member's pain in intimate detail. Dolan is brilliant in his interpretation of that family's deep pain and Louis's coming to terms with not only his own impending death but the "death" the family already has had to deal with when he went away the first time.