Mommy (2014)
Mommy (2014)
BRRip | MKV | 1024 x 576 | AVC @ 2401 Kbps | 138 min | 2.55 Gb
Audio: French, English AC3 5.1 @ 256 Kbps | Subs: English (.srt)
Genre: Drama | Canada
BRRip | MKV | 1024 x 576 | AVC @ 2401 Kbps | 138 min | 2.55 Gb
Audio: French, English AC3 5.1 @ 256 Kbps | Subs: English (.srt)
Genre: Drama | Canada
A feisty widowed single mom finds herself burdened with the full-time custody of her rambunctious 15-year-old ADHD son. As they try to make ends meet and struggle with their unpredictable ménage, Kyla, the peculiar, new girl across the street, offers her help. Together, they find a new sense of balance, and hope is regained.
IMDB 8.3/10 from 6479 users
Director: Xavier Dolan
Writer: Xavier Dolan
Actors: Anne Dorval, Suzanne Clément, Antoine-Olivier Pilon, Patrick Huard
Rated: R
Runtime: 138 min
Forty-six year old Diane Després - 'Die' - has been widowed for three years. Considered white trash by many, Die does whatever she needs, including strutting her body in front of male employers who will look, to make an honest living. That bread-winning ability is affected when she makes the decision to remove her only offspring, fifteen year old Steve Després, from her previously imposed institutionalization, one step below juvenile detention. She institutionalized him shortly following her husband's death due to Steve's attention deficit hyperactivity disorder (ADHD) and his violent outbursts. He was just kicked out of the latest in a long line of facilities for setting fire to the cafeteria, in turn injuring another boy. She made this decision to deinstitutionalize him as she didn't like the alternative, sending him into more restrictive juvenile detention from which he would probably never be rehabilitated. However, with this deinstitutionalization, she has to take care of him which means only being able to do home based work. Despite they always yelling expletives at each other and Steve sometimes demonstrating those violent tendencies toward her, Die and Steve truly do love each other, his emotions which are sometimes manifested as an Oedipus complex especially as he seems to need her complete attention most specifically when it is being directed at possible male suitors. Their lives, both individually and as a family, are affected with the entrance of two of their neighbors. The first is Paul, a lawyer, who does have that sexual interest in Die as he tries to help Steve through his legal problems. The second and more important is Kyla, who lives across the street with her husband Patrick and their adolescent daughter, they who are in transit in their life to wherever Patrick's job will take them. Kyla is a high school teacher on sabbatical as she deals with her own emotional issues, which are manifested in stuttering whenever she feels incapable of dealing with her life. Kyla may find that she needs the Després as much as they need her.
Director's note:
Since my first film, I’ve talked a lot about love. I’ve talked about teenagehood, sequestration and transsexualism. I’ve talked about Jackson Pollock and the 90s, about alienation and homophobia. Boarding schools and the very French-Canadian word “special”, milking the cows, Stendhal’s crystallization and the Stockholm syndrome. I’ve talked some pretty salty slang and I’ve talked dirty too. I’ve talked in English, every once in a while, and I’ve talked through my hat one too many times.
Cause that’s the thing when you “talk” about things, I guess, is that there is always this almost unavoidable risk of talking shit. Which is why I always decided to stick to what I knew, or what was - more or less - close to my skin. Subjects I thought I thoroughly or sufficiently knew because I knew my own difference or the suburb I was brought up in. Or because I knew how vast my fear of others was, and still is. Because I knew the lies we tell ourselves when we live in secret, or the useless love we stubbornly give to time thieves. These are things I’ve come close enough to actually want to talk about them.
But should there be one, just one subject I’d know more than any other, one that would unconditionally inspire me, and that I love above all, it certainly would be my mother. And when I say my mother, I think I mean THE mother at large, the figure she represents.
Because it’s her I always come back to. It’s her I want to see winning the battle, her I want to invent problems to so she can have the credit of solving them all, her through whom I ask myself questions, her I want to hear shout out loud when we didn’t say a thing. It’s her I want to be right when we were wrong, it’s her, no matter what, who’ll have the last word.
Back in the days of I Killed My Mother, I felt like I wanted to punish my mom. Only five years have passed ever since, and I believe that, through Mommy, I’m now seeking her revenge. Don’t ask.
— Xavier Dolan, May 2014
Mommy (2014)
Mommy (2014)
Mommy (2014)
Mommy (2014)
Mommy (2014)
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Mommy (2014)
General
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