Matthias & Maxime

What struck my most about this film was that, just twenty minutes in, I got the feeling that I was watching a totally new kind of film. It's different from anything else. You don't notice it at first though. It follows the same sorts of conventions as other films, but at a certain moment I realized it had a completely unique tone to it which I personally had never seen before.

I don't know if it was deliberate. I don't know if it's something that's existed in other films, but it's certainly something I don't recall having ever seen myself. It almost feels like what some would call realism, but it's not. And since it's not quite that, it ends up being something completely different. It's subtle at first, but it never lets up. The wonderful camerawork only adds to it. Recommend.

"For people who become besties, their cherished friendship is always alloyed with a degree of love or affection, and a carnal one is not excluded. There is an old saying "no pure friendship can exist between a man and a woman", which now we shall modify to "no pure friendship can exist between two persons". So thematically, Dolan delves into something more removed from queerness, the consummation of Matthias and Maxime's making out in the utility room, coming lately and first in close-ups and then sublimely peered through a window pane, is less sexual than emotional, it is two best friends saying goodbye to each other, words fail them, but bodies don't lie, a rite of passage towards adulthood."

read my full review on my blog: Cinema Omnivore, thanks.

Matthias and Maxime have been friends since childhood. The first (Gabriel D'Almeida Freitas) is a handsome lawyer with an upward career and in a relationship with a woman, while the second (Xavier Dolan), lives with his recovering addicted mother (Anne Dorval) and is preparing a trip to spend at least two years in Australia. As a result of a bet, both must participate in a short film in which they kiss, a situation that will trigger questions in both.

Xavier Dolan addresses several issues in this film: the possibility of two men coming out of the closet after a relationship of years, the end of youth, the divergent paths that can separate two people, the relationship with their mothers (own and others) and affiliate responsibilities.

The process between the two protagonists is partly reminiscent of the films by Argentine Marco Berger, with arguments consisting of waiting for both to consume a sexual encounter after accumulating erotic tension throughout the film, only that the accumulation of tension (sexual and affective) is almost absent in Dolan's film, a process to which his ellipsis and the approach of the protagonists contribute.

The goodbye to youth is given by the noisy and festive scenes with his group of friends from different social backgrounds, in scenes that are too long that in general do not contribute to the dramatic development and provide some moment of somewhat faded humor.

The (always) conflictive relationship with the mother is a topic in Dolan's films: it also appears in I killed my mother and in Mommy and, in all three cases, with Anne Dorval in that role.

Unfortunately, in addition, all these planes do not finish combining and enhancing each other and some even become annoying from time to time due to their dispersion. Of course, the movie is well shot, with some slick images, some editing details, and an interesting soundtrack.

Matthias and Maxime is another example that shows that Dolan works better and achieves more powerful and effective stories when he operates the playful, as The Imaginary Loves and perhaps the best of his films, Tom at the Farm have shown.

A group of former high school friends gathers at a French-Canadian country retreat to swim, get drunk and hit a few bongs. During the course of the evening Matthias (a lawyer) and Maxime (a bartender) are hoodwinked into locking lips on camera for an "expressionist" film project put together by the amusingly annoying younger sister of one of their group. Reluctantly they comply. The deed done and the weekend over, both return to the routine of their daily lives, but as autumn gives way to the first snow of winter, a chill has descended on their friendship.

What follows is an absorbing character-study of the two men; Matthias representing Order (professional at a city law firm, dating a woman named Sarah, and a stickler for the correct use of grammar) to Maxime's Chaos (single, scruffy and struggling to care for an addict mother.) Friends since childhood, they are presented almost as a long-term couple within the group. As Maxime prepares to leave Montreal for a new life in Australia it is in Matthias that we begin to see signs that something is amiss as his behaviour becomes increasingly erratic. So what exactly is at the root of his unease? The kiss is a bit of a McGuffin, the hook which serves to throw light on the bigger issue of Maxime's going away, with clues pointing to its cause and effect.

Director Xavier Dolan (the endearingly shambolic Maxime) explores the relationship between the two protagonists by taking the unusual step of separating them for most of the film, which covers twelve days leading to Max's leaving party, but takes his time to embellish the slight drama with enough symbolism, visual cues and smokescreens to keep things interesting; a change of clothes before filming their smooch sees them switch colours (red to blue and vice versa); Matthias takes a night-time swim and fetches up exhausted on the wrong shore; Max gets drunk and watches as the birthmark spilling like blood from his eye vanishes in the mirror before him. Scenes are framed by windows, lenses, mirrors, hands, giving the sense of peering in on a slowly unfolding mystery. Mundane conversations, on second viewing, are imbued with connotation (note the opening line of dialogue).

This is not, then, a film full of vacuous men sitting around with their shirts off, clinking wine glasses in swimming pools or flailing around in scenes of a softcore nature. There are, instead, some terrific performances from all concerned, intertwined with wry humour, and the dynamics and interplay between the larger group of friends feels genuinely authentic.

If the film falters slightly it's that the ending is, alas, ambiguous (Dolan thinks it's clear where things are headed as the credits roll, but then he wrote it.) There is a cathartic moment between the two men late in proceedings not unlike Emma Thompson's famous snotting scene from Sense and Sensibility (and with a serious amount of added smoulder) but when the final piece of the jigsaw slots into place - during a phone call on Max's final day as he attends to a last-minute detail prior to his departure - the picture remains incomplete.

At its core, the film is a beautifully understated snapshot of two people separately going through the same moment in their lives and the shadow it throws over each of them, as those who know them look on in puzzlement, and holds up a mirror to something we are all sometimes guilty of; hiding our feelings so convincingly that we unwittingly become the architect of our own and others' misery.

Are you ready for your close-up?

Though it doesn't stray too far from Xavier Dolan's usual themes of questions of identity and sexuality, 'Matthias & Maxime' displays growth that comes from the maturity that resulted the movie as one of Dolan's most engaging and modest film in years.