STEP INTO DOLAN
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THE WAY I AM
When you’re in love, you progressively go back to who you are.
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The Films
The Director
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THE WAY I AM
WHO IS HE
XAVIER DOLAN
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THE WAY I AM
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Background and Early life Dolan was born in Montreal, Quebec, Canada. He is the son of Geneviève Dolan, a French-Canadian teacher, and Manuel Tadros, an Egyptian-born Canadian actor and singer with strong ties in the Quebecois entertainment industry.Dolan was a successful child actor. Dolan attracted international attention with his first feature film, I Killed My Mother (J’ai tué ma mère), which he wrote, directed, produced and starred in, using funds from his extensive work as a child actor. The film premiered at the Director’s Fortnight program of the 2009 Cannes Film Festival where it received an eight-minute standing ovation and won 3 awards— the Art Cinema Award, the SACD Prize for screenplay and the Prix Regards Jeunes – and built on its success by winning even more honours on the international festival circuit, including a Lumière Award, 4 Jutra Awards including Best Film, Best Screenplay and Most Successful Film Outside Québec, beating out Denis Villeneuve’s film Polytechnique (2009) in what was a deemed an “upset.” The film received the Claude Jutra Award at the Genies, and Dolan was awarded the inaugural $5,000 Jay Scott Prize for emerging talent from the Toronto Film Critics Association. I Killed My Mother was named one of Canada’s Top Ten features of the year by the Toronto International Film Festival (TIFF) and chosen as Canada’s official entry for Best Foreign Language Film for the 2010 Academy Awards, however it failed to receive a nomination by the academy. It was subsequently sold to more than 20 countries.However, due to legal problems experienced by the film’s US distributor, Regent Entertainment, it was not released theatrically in the United States until 2013, and once released, it made little money.
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Filmography 2009: I Killed My Mother (J’ai tué ma mère) 2010: Heartbeats (Les Amours imaginaires) 2012: Laurence Anyways 2013: Tom at the Farm (Tom à la ferme) 2014: Mommy 2016: It’s Only the End of the World TBA: The Death and Life of John F. Donovan
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I just want to express myself like Madonna Interview of Xavier Dolan
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When Xavier Dolan presented his first directorial effort, I Killed My Mother—an autobiographical psychodrama about an unruly teenager and his teetering, at-wit’s-end mother—at the Cannes Film Festival in 2009, he had just turned 20. The film received an eight-minute standing ovation, and the labels subsequently affixed to the now 25-year-old Québécois writer, filmmaker, and actor-wunderkind, enfant terrible—certainly spoke to Dolan’s precocious emerging voice. But in the past five years (and with four more feature films), he’s put together a body of work and a distinct point of view that might just make him contemporary cinema’s next great hope. The stories he’s told—a pair of best friends falling in love with the same man (Heartbeats, 2010); a transgender woman and her partner coming to terms with her choice to transition (Laurence Anyways, 2012); a twentysomething menaced by the brother of his dead boyfriend (Tom at the Farm, 2013); and his latest film, Mommy, a scrappy widow and her troubled son fighting against the world for self-preservation—examine the intimate experiences of characters typically beyond the
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range of quote-unquote normalcy, moving toward emotional or revelatory catharsis. Last year at Cannes, Dolan’s film won the Jury Prize (an honor he shared with Jean-Luc Godard), but it wasn’t just the jury who was impressed. Jessica Chastain, who saw the film at the festival, reached out to Dolan via Twitter, and not only have they embarked on a friendship, Chastain will star in Dolan’s first English-language feature, the upcoming showbiz drama The Death and Life of John F. Donovan. In late November, while she was on a brief break from promoting her film Interstellar, Chastain phoned Dolan at his home in Montreal to talk about growing up among women, the intoxicating power of James Cameron, and Mommy, Canada’s entry for the Best Foreign Language Film Oscar. JESSICA CHASTAIN: Hi, sweetheart! This is the first time I’ve ever been on this side of an interview. The first time we properly met was in New York, but I saw Mommy at the Cannes Film Festival this year and I was so blown away. I tweeted, not even really expecting anything, how much I loved the film, and then
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Every character is very personal because there’s a lot of me in their anger
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you and I had a very funny exchange. Dolan: Should we have a recollection of that? Chastain: I think people should know how charming you are. I think we should tell them, first of all, that you’re my beard. If you ask me, I am there for you, babe, 100 percent, but you have to take me to dinner first. Do you remember the video you sent me? Dolan: Celine Dion—is that it? I first sent you “Take You” by Justin Bieber, and then I deleted it because I was ashamed. How provincial of me, to send you our national treasure. Justin Bieber, Celine Dion—generations of Canadian national gems. Chastain: You wooed me with Justin Bieber, and so now I am forever your beard, my friend. [laughs] Okay. So where were you born? Dolan: I was born in Montreal at the Children’s Hospital. It sounds very cute, but that’s the actual name. Chastain: Did you grow up in an artist household? Dolan: My dad sort of did everything. He’s a musician, a composer, an actor—he’s an artist in all possible ways. He drew and painted—he still does. But even though he was composing his music, they were pop songs, like “Take You.” [both laugh] Not the same budget, though. My parents divorced when I was very young. My mother moved to a faraway land—suburban Montreal. I was brought up in a mainstream environment, culturally speaking. I watched all the kids films—Matilda [1996], Jumanji [1995], Home Alone [1990]. Chastain: What brought you to acting? Doaln: My aunt Julie was a production manager and she heard of an opening. Some show was looking for children to run around the house or whatever. I auditioned and got the part, and I showed up in all of my monstrous energy, bouncing everywhere like an electron. I loved the experience, and I think it was important to my mom because she watches every show on
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TV, like 20 of them, and records with her VHS—yes, that’s correct, VHS. Anyway, sorry, I got lost on my mom again. I digress on my mom. Then I just started auditioning for commercials and shows and films. I got a part in a package of commercials for this big drugstore, from the age of 6 to 10. For four years I shot those commercials and old ladies would stop me on the street and grab my cheeks. That’s how it started. Chastain: So you digress to your mother. [laughs] It’s interesting going through your films—I want to know how much of it is autobiographical. You were just talking about your mother recording television shows. In your films, the television is an obstacle for bonding between a parent and a child. Is that something you directly took from your life? Dolan: You’ve seen I Killed My Mother? Chastain: Of course, honey! I do my research. Dolan: [laughs] Well, I’m very flattered that you would research. When, at night? [laughs] How very extrastellar of you to watch these. Well, you’re right. I Killed My Mother is autobiographical. I would say the percentage of accuracy is 250 percent. I’m kidding—it’s, like, 240. The other films aren’t really. I’m very far from Laurence Anyways. I haven’t experienced heterosexual love and then a gender switch. I haven’t been held hostage like Tom is in Tom at the Farm. I haven’t lived any of these things, but every character is very personal because there’s a lot of me in their anger, their loneliness, and in their rage against society, against people who ostracize people who are different. Even the characters that seem so far away intellectually or socially, for me, when they speak, it will always be my words. There’s a lot of my mom in these characters because you write characters with the things that you’ve watched. As an actor, I’ve been recording forever. I’m a watcher. I’m a stalker. I love everything about people: the way they walk, the way they talk, the way they cry, the way their mouth is distorted whenever they do this or say that. It’s always been a passion for me to observe.
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THE WAY I AM
XAVIER DOLAN
This year, Xavier Dolan will make his biggest splash at Cannes yet
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Cannes audiences are not easily entertained. Unlike the reserved moviegoers of the Sundance and Toronto film festivals – where even a disaster will be greeted with polite applause – Cannes attendees can be a more mercurial bunch, unafraid to loudly boo and hiss a movie after its premiere, no matter how high its pedigree. Walk-outs aren’t unheard of, and the press conferences can be notoriously vicious. But all of this venom just makes Xavier Dolan’s long and loving history with Cannes all the more impressive. At just 27 years old, Dolan is nearly synonymous with the Croisette. The Québécois filmmaker – an art-house genius to some, a brash hot shot to others, but a singular artist to everyone – has already been invited to the Cannes Film Festival five times in his young career, premiering four of his past five films there, and sitting on the jury last year. However temperamental Cannes audiences are, there’s one thing they can seemingly agree on: Dolan is an artist worth celebrating. But this year, Dolan will be making his biggest splash at Cannes yet. On Thursday morning, Cannes chief Thierry Frémaux revealed that the festival would feature the world premiere of Dolan’s new drama, Juste la fin du monde (It’s Only the End of the World), a Canada-France co-production that features a powerhouse international cast – including Oscar-winner Marion Cotillard and Spectre star Lea Seydoux – that just might propel Dolan into the awards race come this fall. “With Marion I got lucky because I met her at a party in France, and told her I loved her and what she does, presuming that she wouldn’t know who I was,” Dolan says over the phone from London, where he’s currently scouting locations for his next film. “And to my surprise she told me she loved my work, too, so I was very humbled and touched. On the way back home, I
already knew that I had a film for her in mind, a play I’d known about for a long, long time, but hadn’t connected with yet.” That play was French author Jean-Luc Lagarce’s Juste la fin du monde, which actress Anne Dorval (Dolan’s frequent collaborator) introduced to him years ago and tells the story of a writer’s tense return to his hometown to announce his pending death. “She told me I had to read it, but its extraordinary language and vernacular was so sophisticated back when I was 21 that it bored me, I didn’t understand it, I didn’t get it,” Dolan says with a laugh. “This is adult material, like Proust, almost. I thought, ‘You got to come back to it when you’re older, when you’ve lived a little.’ Dolan has certainly packed in more life experience than most in those six short years. His prolific career – five features, all near-universally acclaimed, with 2014’s Mommy sharing the jury prize when it premiered at Cannes – would be remarkable for any feature filmmaker, let alone someone under the age of 30 working within Canada’s oft-complex industry. Yet the Montreal-born director still found time to sit on the Cannes jury last year, which has naturally widened his perspective on the film festival, if not necessarily affected his expectations for Juste la fin du monde’s reception. “Being on the jury was the greatest experience of my life, artistically, and the relationships I made with [fellow jurors] Guillermo del Toro and the Coen brothers was lasting. Del Toro even made it to the set of this film,” Dolan says. “The conversations we had were so honest. We didn’t talk much about what we hated – we know the crowd in Cannes can be quite awful when they hate a movie – so we focused on things we loved. There was no political agenda, just everyone being sincere and speaking with their hearts.” Dolan’s jury ended up awarding the coveted Palme d’Or to Dheepan – a controversial choice, given how Jacques Audiard’s film about Sri Lankan immigrants in France takes a jarring third-act detour into bloody Sam Peckinpah territory. Yet Dolan says one year’s jury has no bearing on the next. “The time
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was different, the atmosphere was different and the competition was different,” he says. “This year’s jury will be driven by different considerations and socio-political thoughts in terms of what’s going on in the world. It’s a different conjecture, a different bunch of films. I cannot say how it’s going to happen this time around, I’m not even going to try and guess.” In the meantime, Dolan is hardly resting on his Cannes laurels. Just as he wraps work on Juste la fin du monde, the director is in Europe working on preproduction for his English-language debut, The Death and Life of John F. Donovan, which features perhaps even a brighter cast than Juste la fin du monde, including Natalie Portman, Jessica Chastain, Susan Sarandon and Game of Thrones’ Kit Harington. “I keep getting slightly worried that they’re all going to call up and say, ‘Hey, we can’t do it.’ And I’ll just say, no I completely understand,” says Dolan, who adds that he’s careful not to change his ways just because he’s working with bold-faced names. “What’s exciting is that I will approach this journey like any other work. Approaching them different could be a mistake. I just want to create this movie with integrity. I feel like I’m driven not by ambition but by the movie itself, by telling the story right.”
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Verhoeven (Elle), Jeff Nichols (Loving), Park Chan-wook (The Handmaiden), Olivier Assayas (Personal Shopper), Andrea Arnold (American Honey) and Cristian Mungiu (Baccalaureat) will be among the 20 filmmakers competing with Dolan for the Palme this year. Out-of-competition titles such as Jodie Foster’s George Clooney-starring drama Money Monster, Shane Black’s Ryan Gosling-Russell Crowe crime comedy The Nice Guys and Steven Spielberg’s The BFG, meanwhile, will help bring a high celebrity quotient to the red carpet. (This year’s festival runs May 11 to 22.) Naturally, this year’s lineup is not without controversy. For starters, the festival is once again indulging its critics by feting Woody Allen – for the 14th time – by opening with his not-in-competition Cafe Society. (Perhaps because the film, featuring Steve Carell and Kristen Stewart, is a bit glitzier than last year’s tepidly received and star-less opener Standing Tall.) And then there’s the fact only three women, out of 20 filmmakers, are competing for this year’s Palme. It’s a very slight boost from last year, when just two women were selected for the slate, but far from the diversity most industry-watchers were hoping for.
Dolan’s entry, which will compete for the Palme d’Or, marks the only Canadian film to make it to Cannes this year, a far cry from 2014’s festival, which saw movies from a record number of homegrown talents including Dolan, Atom Egoyan and not one but two Cronenbergs (David and his son, Brandon).
Also causing ripples in the film community are the movies that didn’t end up making it to this year’s festival. Presumed frontrunners included Martin Scorsese’s historical drama Silence, Terrence Malick’s documentary Voyage of Time, Oliver Stone’s biopic Snowden, Denis Villeneuve’s sci-fi epic The Story of Your Life, Ben Wheatley’s Free Fire, and Nate Parker’s Sundance sensation The Birth of a Nation.
Yet this year’s lineup is undoubtedly one of the festival’s most anticipated in years. Master filmmakers including Paul
Of course, this just means we can start wildly speculating as to which of those films will make it to Toronto in September.
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THE WAY I AM
THE FILMS Mommy Tom Ă la ferme Laurence Anyways Heartbeats I Killed My Mother
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I Killed My Mother
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What would you do if I died today? I’d die tomorrow.
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I Killed My Mother (French: J’ai tué ma mère) is a 2009 Quebec biographical drama film written and directed by Xavier Dolan. It is an exposé on the complexity of the mother and son bond. The film attracted international press attention when it won three awards from the Director’s Fortnight program at the 2009 Cannes Film Festival. After being shown, the film received a standing ovation. It was shown in 12 cinemas in Quebec and 60 in France. The film begins with Hubert Minel giving a black-and-white monologue explaining how he loves his mother but cannot stand being her son; he also reveals that when he was younger, things were better between them. Hubert is a 16-year-old Québécois living in suburban Montreal with his single mother, Chantale, who divorced Hubert’s father, Richard, when Hubert was much younger. Hubert barely sees his father, and this adds to the animosity between mother and son. One morning, as his mother drives him to school, Hubert starts an argument with her about her applying makeup whilst driving. The argument ends when Chantale stops the car and tells him to walk to school. At school Hubert claims to his teacher, Ms Cloutier, that his mother is dead. After the teacher finds out that it is a lie, she expresses this lie as “you killed your mother.” This inspires Hubert to write an essay for school titled “I killed my mother.”
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Back at school, Hubert is beaten by two fellow students. Hubert runs away with the help of Antonin, who has borrowed his mother’s car. On the journey, Antonin tells Hubert that he is selfish and only cares about himself, but adds that he loves him. The school’s principal calls Chantale to inform her of the developments, revealing the note Hubert left, saying he will be “In his kingdom”. The principal also begins to lecture Chantale, which causes her to have an angry outburst at him, saying how he thinks he’s better than her and how he has no right to judge a single mother. Chantale knows exactly where Hubert’s “kingdom” is; the house he lived in as a child with both his parents. Indeed, she finds Hubert and Antonin there. Chantale sits next to Hubert overlooking the beach. The film ends with a home movie clip of Hubert as a child playing with his mother.
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Heartbeats Heartbeats (French: Les Amours imaginaires) is a 2010 Canadian drama film directed by Xavier Dolan. It follows the story of two friends who both fall in love with the same man. It premiered in the Un Certain Regard section of the 2010 Cannes Film Festival.
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Francis and Marie first meet Nicolas at a dinner party, where they both feign lack of interest in him. Over the next couple of weeks, the three form a close friendship, meeting up regularly and even sleeping together in the same bed. However, it is clear that both Marie and Francis have an interest in Nicolas beyond friendship. Francis is unhappy when Nicolas invites Marie to the theater. Marie is visibly disappointed when she arrives at a Vietnamese restaurant with Nicolas after the play, finds Francis dining with several friends, and watches Nicolas take a seat at the end of the table furthest from her. Francis, left alone in Nicolas’ apartment, masturbates while smelling his unlaundered shirt. Both interpret Nicolas’ actions as signs of intimacy and affection: Nicolas eats a cherry from Francis’ hand;
Nicolas tells Marie he loves her and also loves Francis. Their feelings lead to competition for Nicolas’ affections, evidenced by their rivalry over the gifts they buy for his birthday. The relationship culminates in a trip to the vacation home of Nicolas’ aunt. Marie becomes jealous when Nicolas feeds Francis a marshmallow, telling him to eat it slowly like a ‘striptease’, and she goes to bed early. The next morning, she wakes up alone and observes the two frolicking together in the distance. She decides to leave, but Francis chases after her and the two end up wrestling on the ground. Nicolas is not impressed and decides to leave, saying they can love him or leave him. On returning from the trip, neither sees Nicolas. Each leaves him a voicemail message and Marie writes him a love letter. Eventually, Francis meets Nicolas and pours out his feelings, telling him he loves him and wants to kiss him. Nicolas responds: “How could you think I was gay?”, leaving Francis devastated. Later, Marie catches up with Nicolas in the street and first tells him the letter she sent was meant for a female friend accidentally switched with an academic essay she intended for him. Nicolas asks Marie if this female friend is her lover or her ex, which Marie confusedly denies. As Nicolas goes to leave, claiming to have left something on the stove, she asks how he would feel if she had intended the poem for him. He says he would still have something on the stove. After a year, Francis and Marie have re-established their friendship. At a party they repulse an attempt by Nicolas to greet them. In the final scene, they both catch the eye of another party guest and together head for him.
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Laurence Anyways Laurence Anyways is a 2012 Canadian romantic drama film written, edited, and directed by Xavier Dolan. The film competed in the Un Certain Regard section at the 2012 Cannes Film Festival where Suzanne ClĂŠment won the Un Certain Regard Award for Best Actress. The film also won the Queer Palm Award at the festival.
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The film begins by introducing Laurence (Melvil Poupaud), a 30-year-old man, who is an award-winning novelist and literature teacher in Montréal. Laurence is very much in love with his girlfriend, the fiery and passionate Fred (Suzanne Clément). On the day of her birthday, he reveals to Fred his biggest secret; he has felt for his entire life that he was born in the wrong body and says that he has been living a lie for so many years. He wishes to rectify his situation and restart his life as a woman. Fred accuses him of being gay and takes the news very hard. They separate for a short time, but Frédérique arrives at the conclusion, much to the chagrin of her mother and sister, that she must be there for Laurence. Their romance resumes and Frédérique becomes Laurence’s biggest supporter. Frederique teaches Laurence how to do her makeup and buys her a wig. She urges Laurence to dress as her true self, in female clothing. Laurence shows up to work one day in a dress. All seemingly goes well until she is released from her position at the school due to the negative reception of her transformation. Fred falls into a state of depression and eventually leaves Laurence and moves away. Frédérique marries another man, Albert, and has a son named Leo.
Five years later, Laurence, although living with and romantically engaged with Charlotte, is still deeply in love with Fred. She stalks her regularly, often driving and parking outside of her house in Trois-Rivières. After publishing her book of poems, she sends a copy to Fred, who decodes the poems’ secret message meant for her. She contacts her, and the two meet and run away to the Isle of Black. However, the romantic getaway turns sour and the two argue. Fred reveals she was pregnant when Laurence revealed her gender identity, and Fred had an abortion. Fred’s husband learns her whereabouts from Charlotte and Fred’s relationship and life with him is shattered. Laurence leaves Fred in the night and the two do not speak for several years.
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Tom at the Farm
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Tom at the Farm (French: Tom Ă la ferme) is a 2013 psychological thriller directed by Xavier Dolan. The film is based on the play of the same name by Michel Marc Bouchard. It was screened in the main competition section at the 70th Venice International Film Festival on 2 September 2013, and also at the 2013 Toronto International Film Festival in the Special Presentation section. At Venice the film won the FIPRESCI Prize. The film was nominated for Best Picture at the 2nd Canadian Screen Awards, but did not win.
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Tom, a young advertising copywriter, travels to the country for the funeral of his boyfriend Guillaume. There, he is shocked to learn that no one knows who he is, nor his relationship to the deceased. Guillaume’s brother Francis soon sets the rules of a twisted game. In order to protect the family’s name and the deceased’s grieving mother, Agathe, Tom now has to play the peacekeeper in a household whose obscure past bodes even greater darkness for his “trip” to the farm.
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Tom at the Farm has received generally favorable reviews. Review aggregation website Rotten Tomatoes reports that 77% of critics have given the film a positive review based on 60 reviews, with an average score of 7.1/10. Peter Bradshaw of The Guardian described it as an “intriguing [film] coiled with ardor and fear.” Irish Times’ Tara Brady gave it five out of five stars and hailed it as a “work of genius”, in which Dolan “transforms Michel Marc Bouchard’s source stage play into a unique, enigmatic thriller.” Variety’s Guy Lodge also wrote a positive review of the film, citing it as “Dolan’s most accomplished and enjoyable work to date, ... also his most commercially viable”. He praised the “glorious” score by Yared and the “gorgeous” cinematography of André Turpin. David Ehrlich in his review for Film.com gave the film a rating of 7.7, writing that “Tom at the Farm is occasionally impenetrable as a drama, it’s seldom less than gripping as an exercise in suspense.” Ehrlich also noted the score: “certain scenes feel like they exist only to provide a visual backdrop for Gabriel Yared’s urgently bleating string score”. The Hollywood Reporter’s critic David Rooney reviewed the film unfavorably and criticized Dolan for being self-obsessed. He wrote: “It’s also hard to take the film seriously when scene after scene explores the director’s face with such swooning intoxication. Shots of Tom are held and held and then held some more—at the wheel of his car, in the cornfields, running in slow motion with his blond locks dancing in the breeze, sitting pensively on a bed in his underwear, or looking out through a screen door as a single tear streaks his face, like Anne Hathaway in Les Miserables”. Dolan replied to Rooney in a tweet: “You can kiss my narcissistic ass.”
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Mommy A feisty widowed single mom finds herself burdened with the full-time custody of her unpredictable 15-year-old ADHD son. As they struggle to make ends meet, Kyla, the peculiar new neighbor across the street, offers her help.
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Dolan’s 2014 film, Mommy, shared the Jury Prize in the main competition section at the 2014 Cannes Film Festival with Jean-Luc Godard’s film Goodbye to Language (Adieu au langage). The Jury president at the 2014 festival was Jane Campion and, upon receiving the award, Dolan stated: “The Piano [Campion’s film] was the first film that I watched that truly defined who I am … It made me want to write films for beautiful women with soul and will and strength. To even stand on the same stage as you [Campion] is extraordinary.” The film was singled out by critics as being Dolan’s “most mature” film to date and became his first film to achieve considerable success at the global box office, grossing over 3.5 million domestically in 2014, becoming the highest-selling film in Quebec for 2014.According to the Montreal Gazette, over 1 million people went to see the film in France.Mommy went on to win the Cesar Award for ‘Best Foreign Film’ in 2015.
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THE FESTIVAL
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Opening Night Gala
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April 10 7:00 pm It’s an evening of delectable tastings from renowned Hollywood chefs and wineries, ocean-inspired trailers of upcoming films, and the chance to bid on exciting auction items as well as meet filmmakers from around the world. Tickets go on sale in early January 2016.
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Day 1 Apr 10 10:00 am Mommy Apr 10 01:00 pm Heartbeats
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Day 2
Day 3
Apr 11 10:00 am Tom at the farm
Apr 12 10:00 am I Killed My Mother
Apr 11 01:00 pm Laurence Anyways
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Location
Raleigh Studios, Hollywood 5300 Melrose Ave Los Angeles, CA 90038
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Café & Catering
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You can enjoy the shaded outdoor patio with its working fountain and western architecture or sit in the cozy dining room decorated with Spanish style murals. Our convenient to-go area and the Take 5 CafĂŠ, offers the same menu for those who need to get back to the set in a hurry. The menu offers a variety of cuisines including Mexican, Italian, seafood, and vegetarian specialties. Our Daily Specials enhance our fixed menu and are posted every morning. To receive emails of the Daily Specials, send your name and email address to cafĂŠ@raleighstudios.com.
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There might be a proper age to know how to tell a story, but there’s no proper age to start telling them.
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