it Was Henri Bergson who argued that the life of a person is obsessed with the elections that has not been done. If there is some truth in this, the life of a homosexual can become a life of obfuscation due to deprivation. Because to live outside of the normative heterosexual means to dispense with certain ways of experiencing things, of certain ways of relating to others. In some cases, the way to interact with your family.
With his recent film, is Not more than the end of the world (Juste la fin du monde, Canada-France, 2016), Xavier Dolan puts us to think that. Based on a theater piece of the same name by Jean-Luc Lagarce (author homosexual, was struck down by aids in 1995), the film introduces us to the writer gay Louis (Gaspard Ulliel), who after 12 years returns to his hometown to talk about his impending death in the family. The appointment with the loved ones unleash a flurry of complaints, reproaches, quarrels and hysteria.
Dolan surrounded himself with an all-star cast. With Nathalie Baye (Martine, the mother), paper descocado and motherly; a Vincent Cassel (Antoine), as an older brother injuriando at the slightest provocation; a Marion Cotillard (Catherine), as sister-in-law of Loius, suffering, and quiet; and finally a seydoux (Suzanne), making sister confused and vociferous.
it Was Anne Dorval (in the role of Diane 'Die' Desprès in the frenetic film Mommy, also of Dolan) who spoke of this work to the canadian filmmaker. At the beginning the director born in Montreal) was not convinced to make this film, but a second read of the text convinced him completely.
Lagarce belongs to a long list of artists who in the nineties succumbed to a sickness that struck almost everything. Other writers gay French killed by the virus were Hervé Guibert in 1991 or the remarkable Bernard-Marie Koltès in 1989. In the case of the film, aids was the reason of many of the most interesting movies of the era, which were often the fruit of their own experience of their authors in an environment of bleak.
The movie of Dolan (who also wrote the script) is based on a text fast-paced, with moments of butt between its protagonists. A wealth of sensations and outbursts is the framework from which the filmmaker uses to organize scenarios disturbing sometimes are reached to uncover the deep love, the compassion, and the desire for forgiveness. Although also Dolan at times overwhelming tension in some scenes, and it shows at times a deliberate intention of incurring the fight or the crying without justification. We are definitely not the best movie of this director, even though he himself claims that it is so.
The most interesting thing about this film was awarded by the jury in Cannes, it is not in that pandemonium family that Dolan manages to conform to, but in the condition of a Lois prisoner of nostalgia. One of the scenes of the movie doesn’t show the reflective look to a small winery where his sister has packed all the belongings he brought from the old house. As a background, listen to the tunes evanescent of Genesis (Grimes), and then we see that Lois is lost in the memories.
Homosexual self-exiled from his home, possibly he saw on the way out, an alternative to the personal fulfilment and professional. His return does not seem to have only to do with the announcement of his own death, but also with a longing for reconciliation and reintegration with his family. Especially, with a nostalgia for a life without threat of death. A feeling that in his time it was to fill Jean-Luc Lagarce.
If either is Not more than the end of the world is a powerful drama about the paradoxical and visceral of family relationships, it is also a story that pokes the 'melancholy homosexual'. That of which Didier Eribon tells us comes from the duel "impossible to fulfill or to finish so homosexuality makes you loose the homosexual" (to beget children, marriage for the Church… and so on). That is to say, the ways of life heterosexuals that are model "accepted" social integration, and that are obsessed with the unconscious of the various non-heterosexual.
Twitter: @kromafilm
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