A slightly overdrawn film, but haunting and emotionally resonant in its own way, at the same time announcing Denis Villeneuve as a cinematic force to be reckoned with.
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Incendies (2010)
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Tag / Canada
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Little Women (1994)
This ‘90s adaptation of Louisa May Alcott’s famous novel may be traditionally told, but it is perfectly cast and remains possibly the most endearing of them all.
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Body Remembers When the World Broke Open, The (2019)
A modest if quietly effective Canadian film that is shot in real-time in a largely uninterrupted long take, about an indigenous woman suffering from domestic abuse who is discovered by a compassionate stranger.
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Possessor (2020)
Cronenberg Jr’s second feature sees him tackle techno-existential sci-fi with more assurance (but also with more narrative convolution) in this gory tale involving mind-controlled assassinations.
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Ghost Town Anthology (2019)
Shyamalan meets Tarkovsky in this enigmatic and disquieting drama shot in 16mm about the sociology of Canadian ‘ghost towns’ and the psychological impact on its inhabitants.
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Away From Her (2006)
A quiet and subtle drama about old age and adapting to new dynamics of a decades-long marriage, backed by a superb performance by Julie Christie.
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Matthias & Maxime (2019)
Dolan’s gift for melodramatic intensity slightly mellows here, but what comes out of it is a newfound sense of storytelling maturity.
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.
