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.
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.
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.
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.
Dolan’s gift for melodramatic intensity slightly mellows here, but what comes out of it is a newfound sense of storytelling maturity.
A youthful and nuanced exploration of teenage sexual identity and emotional intimacy that freshly tries to skip past clichés.
Dolan’s pretty decent second feature is an inverted “Jules and Jim”-meets-Almodovar-type picture, showcasing his penchant for stylish and crisp filmmaking.
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.
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.
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.
