Dolan’s gift for melodramatic intensity slightly mellows here, but what comes out of it is a newfound sense of storytelling maturity.
Tag / Canada
Giant Little Ones (2018)
A youthful and nuanced exploration of teenage sexual identity and emotional intimacy that freshly tries to skip past clichés.
Heartbeats (2010)
Dolan’s pretty decent second feature is an inverted “Jules and Jim”-meets-Almodovar-type picture, showcasing his penchant for stylish and crisp filmmaking.
Laurence Anyways (2012)
Self-indulgent yet showing maturity beyond his years, Dolan’s third feature draws top-notch performances from its leads and makes us feel the emotional and psychological complexities associated with being a transgender.
It’s Only the End of the World (2016)
Not exactly a rewarding film, but this intensely bleak and implosive drama makes a fine point or two about the state of dysfunctional, incommunicable families.
Mommy (2014)
Intense, zippy, and featuring tour de force performances by the lead cast, this relentless drama exudes the kind of youthful confidence that is so unique to Dolan’s works.
Clean (2004)
Backed by a terrific performance by Cannes Best Actress winner Maggie Cheung, Assayas explores the theme of redemption through the inner workings of head and heart.
