170 mandatory viewing experiences.
Set in the 1980s and 1990s, a man tries to salvage his relationship with his fiancée after revealing to her his aspirations of becoming a woman. This is the story of a wild and unusual love.
In his early twenties, Dolan already had the directorial power to turn a simple hallway sequence into an incredible display of human emotion.
So many faces.
Throughout this whole film,
so many beautifully photographed faces.
I can see what he means when he says he's more inspired by photography than film; it shows in the way that he captures imagery as if he's trying to communicate moments to his audience, moments that build on top of one another into fragments of lives.
And then there's that second in the film where, if you know his appearance, you see little Xavier show up in an uncredited role and he looks, well... just that, little. So young, yet already so brilliant. I…
pretty stunningly big-hearted, not to mention gorgeous. i've been resistant to Dolan in the past but this is a real jump for him aesthetically, much more confident and very up front about wearing his influences (i particularly liked all the CLOCKWORK ORANGE-y wide-angle symmetry). and while i try very hard not to be an ignorant person this pierced my white straight male privilege in spots i hadn't previously considered, so not to sound glib but this was both entertaining and informative. really terrific.
For a number of years I have had an interest in the Cannes film festival, but nothing more than a desire to read an article or two after all the films had be screened and the awards handed out, read up on a few highly regarded works (and the ones that are viciously booed, I tend to enjoy those as well) so I could mark my calendar of their eventual wide release date. 2014 was a new year and with it a far more intense passion for seeing as many films as possible, for discovering new auteurs and learning what made their particular styles unique and exciting, and for not limiting myself to the releases that are given massive marketing…
Damn! This turned out to be quite a surprise, I mean I've heard that Xavier Dolan was something of a wunderkind but I didn't think I would be this impressed. Now I have to watch all of Dolan's films.
I was hooked straight from the beginning when the camera slowly pulls away from a curtain dancing window while Fever Ray's If I Had A Heart blares from the speakers. Then again, anything set to sound of Karin Dreijer Andersson's voice will, more than likely, have me hooked. That entire opening sequence was outstanding with Laurence, stepping out as a woman and the camera tracking all the faces and glances he's receiving.
I loved all the magical, experimental visual flourishes that…
Xavier Dolan has just become one of my favorite filmmakers.
If not for the excessive runtime, Laurence Anyways could have been an absolute masterpiece. This was my first experience with Dolan and it was phenomenally impressive. It's full of beauty and passion and emotion and style and love and energy. It's often exhilarating, but far too long. Three. Fucking. Hours. The length is my only real complaint about the film. One could say the excessive runtime minimizes the pleasure. It's an otherwise magnificent film. Suzanne Clément is extraordinary. These characters are wonderful. Each moment is emotionally explosive. like the director is throwing all he has at the screen. This is fantastic filmmaking and it made me even more excited to finally see Mommy.
Τα 80's στον Καναδά ήταν περίεργα σε αρκετό βαθμό, ώστε να μπορέσει να βγει αυτή η ταινία, λογικά
I think my dad loving this movie made me happier than the movie itself. And that's saying a lot.
I have never been a fan of Dolan's films. I did not particulary like J'ai tué ma mère (2009) and could not stand his follow-up Heartbeats (2010). However, after thoroughly enjoying Mommy (2014) I thought I'd give this one a try.
While I acknowledge his eye for great actors - Suzanne Clément's performances alone are reason enough to watch his films - I don't appreciate his style of directing. The overuse of pop anthems and slow motion all the way through the movie is overly manipulative, predictable and just too easy to see through. In this one particulary I was turned off by his choices in costume and production design as well. He takes his late 80's / early 90's…
thanks xavier dolan :'-(
une magnifique réflexion sur l'abolition des frontières sexuelles avec un rôle fascinant de transexuel pour Melvil Poupaud
I started watching this film so long ago, and I think I haven't watched many films in the last month because this was haunting me. I kept watching like half hours of it. It literally took me a month? I've been so busy and working loads and haven't been to the cinema in a month. I'm getting really angsty about applying to uni for film and if I wanna commit to it. So I know this was really good, but I'm just not sure why because it's so disjointed. Wish I watched this all in one and got to weep along. Very beautiful. Xavier Dolan is so great and creative and has actually interesting subject matter and like, drama's with bearable relationships. I'm in awe, I wish more cinema was like this.
Dolan is a prodigious young director, with Lawrence Anyways he shows just how much he loves his craft amd how deft he's becoming as a filmmaker. Beautifully staged, with coordinated music, that helped make a scene go from good to great. A few stand out scenes had me in awe, yet for the most part I couldn't really grasp Lawrence Anyways. I admire it for its consciousness and obscure take on the relationship; it just left me a little cold.
It seems me and Mr Dolan still have some way to go in our director/viewer relationship.
Not my favorite.
In my opinion, of course!
And only including films that I've seen.
Hardly in order after the top fifty.
A blend of personal favorites and films that I consider to be the "greatest" (as well as some of my…