In a feeble effort to make this the one stop place for my writing, I’ve come here to update you on some of my stuffs.
Firstly, I’ve been writing a lot about my new favorite filmmaker Xavier Dolan of late.
Over at IndieWire’s /Bent Blog, I wrote about the roles of mothers in his films.
The pet preoccupation of young Quebecois filmmaker Xavier Dolan is not, at first glance, particularly interesting. Mothers. Alright, someone says, he has mommy issues. But the issue runs far deeper than writing it off so dismissively. For Dolan, as a queer filmmaker, uses his experience, position, and talent to explore mothers with atypical approaches. The divide between a mother and their queer child is also nothing particularly new, but, for at least I Killed My Mother and Laurence Anyways, his maternal characters transcend the roles given to them to become much more.
Over at Movie Mezzanine, I examine obsessive love in Dolan’s Heartbeats via Dalida’s “Bang Bang” and The Knife’s “Pass This On”.
It’s intoxicating. It has the power to the make someone do things out of the ordinary. It augments and manipulates the experience of living. Deep infatuation. Few films are able to pin that experience so accurately as Xavier Dolan’s Heartbeats, a hyper stylistic, elegant piece of filmmaking about two friends who fall in “love” with the same guy. Dolan is able to articulate the spellbinding effect that infatuation has on the two characters through the use of two songs, “Bang Bang”, describing the competition between Francis and Marie, and “Pass This On”, depicting the obsessive nature of their infatuation. Carefully utilized in the film and played nearly consecutively, Dolan nails what it’s like to be obsessively enamored.
And recently, I just had the fortune to see Dolan’s fourth film, Tom at the Farm. And I’m seeing it again this week, because that’s how I roll. And he’ll be there in person. (Yes, I realize I’m linking to a post that was already on this blog, but, I thought it made sense regardless.)
It’s hard to describe 25 year old Cannes Grand Jury Prize winner Xavier Dolan as anything but a wunderkind, even if you dislike his work. The rate of output, for one, is impressive, but the products themselves are astonishing. But what happens when an art house enfant terrible steps away from his comfort zone to deliver a straight (or, rather, queer) psychological thriller? Certainly one of the most outstanding, heart racing experiences I’ve had at the theater in ages.
I’ve also been doing other work, such as…
At IndieWire’s /Bent Blog, I watched queer romcoms and came up with the best and the worst.
Queer films often get ghettoized to a point where if you aren’t actively looking for them, you probably won’t see them in the spotlight, not unlike looking for an original cast recording of Company. You have your once in a while bursts of recognition, like Brokeback Mountain or Milk, but queer romantic comedies specifically almost never see the light of day outside of either your indie theater, your LGBT film festival, the Gay and Lesbian section on Netflix, or that unfortunate friend who actively decided to buy Were the World Mine on DVD. But why is it that way, beyond the obvious reasons of heteronormativity in mainstream media? So, I took it upon myself to plop onto my bed with my tub of ice cream, my stone cold bitch face, and my Netflix account to explore all that could technically qualify as a queer romantic comedy on Netflix, coming up with a personal 5 best, and a personal five worst.
Will be back later to add more stuff I’ve written lately.