Of the many labels Xavier Dolan’s Matthias & Maxime came attached with ahead of its Cannes premiere, few felt as apt as those that billed the Canadian’s eighth feature as “a return.” Three years after railing at Cannes’ “culture of hatred” for the mauling his Grand Prix winner It’s Only The End of the World received from critics–and less than one since the even bigger misfire The Death and Life of John F. Donovan bowed in Toronto–Matthias & Maxime shipped Xavier Dolan back to the festival that first welcomed him in 2009, when his I Killed My Mother left the Directors’ Fortnight with a Camera d’Or for best first feature. Homing in on two best friends grappling with a sprawling bromance, Matthias & Maxime also promised to dwell into the non-heteronormative dynamics Dolan had explored at length since his debut. And after two features set abroad, (the France-quartered...
- 6/1/2019
- by Leonardo Goi
- The Film Stage
The Notebook is covering Cannes with an on-going correspondence between critic Leonardo Goi and editor Daniel Kasman.Matthias & MaximeDear Danny, How nice it was to read your glowing words on Bong Joon-ho’s Palme d’Or contender. His Parasite belongs, together with a handful of other main competition entries, to a list of Cannes titles I shall be catching up on Saturday, when the festival will run a few repeat screenings ahead of the awards ceremony. With a program as rich and tantalizing as this year’s, it’s virtually impossible not to let a few titles slip past you. And while I may have postponed my rendezvous with the likes of Céline Sciamma, Pedro Almodóvar, and Bong Joon-ho, I did make sure to catch the homecoming of one of Cannes’ youngest regulars, Xavier Dolan. Ever since his 2009 debut feature I Killed My Mother, which found a spot at the 2009 Directors’ Fortnight,...
- 5/24/2019
- MUBI
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