The film follows two lifelong friends in their late 20s as they attend a party with other friends where one of the friend’s younger sister is there asking for help to appear in a student short film as the two volunteer to do something leading to many revelations following their contribution to this student film. It is a film with a simple premise as it play into these two different men at crucial stages in their life as they wonder if they do have feelings for one another as Xavier Dolan creates a script that is grounded in these ideas but also play into the dynamic of the individual lives of the titular characters in Matthias (Gabriel D’Almeida Freitas) and Maxime (Xavier Dolan).
They attend a friend’s lake house for a little get together since Maxime is set to leave for Australia for two years to work while Matthias is on his way to a promotion as a young film student asks them to take part in a student film she’s making as it lead to one thing to another. Even as their individual lives is fraught with struggle as Matthias is in a relationship with a woman while Maxime is dealing with his abusive, alcoholic mother and preparing to leave. Though both men have different personalities, their friendship often brings the best in both of them yet this participation in this student film changes everything.
Dolan’s direction does have some element of style yet a lot of is straightforward in terms of its overall presentation as it is shot on location in areas at the province of Quebec and places near Montreal. While there are wide shots of these locations, including a lake where Matthias would swim in the morning after the night he and Maxime participated in the student film, where Dolan play into a world where the titular characters can thrive in. The usage of medium shots and close-ups would play into the different world of the titular characters where Matthias is often seen in a world with other people including his girlfriend Sarah (Marilyn Castonguay) and later an American friend in McAfee (Harris Dickinson). Maxime’s world has Dolan shoot him in different visual styles as it play into his shy persona as well as the troubled home life he has with his mother (Anne Dorval). These moments play into the film’s second act as it relates to the twelve days left before Maxime leaves for Australia as he and Matthias both cope with what happened on that night.
Also serving as the editor, Dolan would keep things straightforward in some of the edits while he would also use jump-cuts including some stylish cutting in a sequence for the film’s climatic going-away party scene for Maxime where Matthias and other friends attend. It would play into this world that they’re in yet Matthias is starting to also spend less time in due to the fact that he’s part of the corporate world as he has a hard time trying to balance both as well as his own thoughts on Maxime. Dolan, who also does the costume design with Pierre-Yves Gayraud, would also play up that sense of isolation in the two men in the way they dress as well as the struggle in figuring out what they are in the end. Overall, Dolan crafts a riveting and mesmerizing about two lifelong friends who deal with an act that they did that changes everything.
Cinematographer Andre Turpin does brilliant work with the film’s cinematography as it play into some of the natural and colorful elements in some of the suburban locations with the usage of natural lighting for scenes at the lake. Production designer Colombe Raby, with art director Claude Tremblay plus set decorators Genevieve Boivin, Pascale Deschenes, and Marzia Pellissier, does excellent work with the look of the lake house as well as the condo that Matthias lives in as well as the chaotic home Maxime’s mother lives in. Special effects makeup supervisor Erik Gosselin does nice work with the look of the right side of Maxime’s face that features a blotch as it play into his flawed look.
Special effects supervisor Mario Dumont and visual effects supervisor Jean-Francois Ferland do terrific work with some of the film’s special effects as it mainly features Matthias’ swim on the lake and a few bits of set-dressing. Sound designer Sylvain Brassard does superb work with the sound as it play into the way music sounds in a room or how a conversation is presented during a meeting Matthias has with his boss. The film’s music by Jean-Michel Blais is amazing for its somber piano score that features flourishes of classical elements while music supervisor Craig Gering provides an array of music that includes a classical piano piece by Franz Schubert as well as music from Britney Spears, the Pet Shop Boys, Amir Haddad, Alex Cameron and Angel Olsen, Phosphorescent, Boards of Canada, DYAN, Cass McCombs, Sister Rosetta Tharpe, George Fitzgerald and Lil Silva, Zola Jesus, the Get Up Kids, Half Moon Run, and Arcade Fire.
The film’s wonderful ensemble cast include some notable small roles from Camille Felton as the film student Ericka who asks the titular characters to appear in her student film, Harris Dickinson as an American friend of Matthias in McAfee, Anne Dorval as Maxime’s alcoholic mother, Micheline Bernard as a maternal figure for the titular character and their friends in Francine, Catherine Brunet as a friend of Maxime in Lisa, and Marilyn Castonguay as Matthias’ girlfriend Sarah who believes that something did happen that night and Matthias is not saying anything. Antoine Pilon and Adib Alkhalidey are fantastic in their respective roles as Brass and Shariff as two longtime friends of the titular characters who like to party and have fun while also knowing that the student film is bringing some revelations about the titular characters. Samuel Gauthier is superb as Frank as another friend of the two characters who is a party animal as he becomes concerned about the two during the film’s climatic party knowing that he does care despite his own wild antics. Pier-Luc Funk is excellent as Rivette as a young man who is another friend of the titular characters as he is also from a posh family that includes Ericka where he knows something is up between the two while also realizing it’s going to change things in their friendship.
Finally, there’s the duo of Gabriel D’Almeida Freitas and Xavier Dolan in incredible performances in their respective roles as the titular characters of Matthias and Maxime. Freitas’ performance is more restrained as someone who has all of the qualities of a man that is set to have it all as he’s also good looking but is struggling to deal with his own feelings for Maxime just as he’s about to get a major promotion. Dolan’s performance as Maxime is also a bit restrained except for scenes in the way his character interacts with his mother while he is also a bit more energetic at times despite his interactions with those he doesn’t know. Freitas and Dolan together do have this amazing chemistry in the way they talk with each other as well as play into this idea that they’ve been friends since childhood that lead to bigger things despite their different personalities.
Matthias & Maxime is a sensational film from Xavier Dolan that features great leading performances from Dolan and Gabriel D’Almeida Freitas. Along with its supporting cast, gorgeous visuals, study of lingering feelings and confusion, and a fun music soundtrack. The film definitely marks a newfound maturity in Dolan’s exploration of sexual identity and youth as well as the struggle to grow up further into adulthood. In the end, Matthias & Maxime is a phenomenal film from Xavier Dolan.
Xavier Dolan Films: I Killed My Mother - Heartbeats (2010 film) - Laurence Anyways - Tom at the Farm - Mommy (2014 film) - (It’s Only the End of the World) – The Death and Life of John F. Donovan - (The Night Logan Woke Up) - The Auteurs #46: Xavier Dolan
© thevoid99 2022
(Co-Winner of the Jury Prize w/ Goodbye to Language at the 2014 Cannes Film Festival)
Written, edited, costume designed, and directed by Xavier Dolan, Mommy is the story of a widow who is trying to raise her teenage son as she seeks the help from her neighbor where things improve but only for a brief moment. The film is an examination into a relationship between a mother and her teenage son who is very outgoing and rebellious. Starring Anne Dorval, Antoine-Olivier Pilon, and Suzanne Clement. Mommy is an astonishing yet intense film from Xavier Dolan.
The film revolves around a widowed mother who is trying her best to raise her ADHD son who is known for being violent and very troubled as they move in to a new place where they get the help of a neighbor who would bring the best in both of them. It’s a film that isn’t just an exploration into a troubled relationship between a mother and her teenage son but also a film that plays into a mother trying to get her own life but also wonder if there’s hope for her son. The film also plays into their situation as it relates to a fictionalized law that would play into what Diane “Die” Despres (Anne Dorval) would have to do for her son Steve (Antoine Oliver-Pilon).
Xavier Dolan’s screenplay doesn’t exactly follow a traditional structure as it is very loose with its narrative as it is more of a character study between Die and Steve’s relationship. Die is a woman that is still trying to hold on to her youth through the clothes she wears as the film begins with her in an accident where she loses her car and is in even worse debt. Adding to the chaos is Steve who has been kicked out of an institution over an incident that he caused that would later haunt both of them as mother and son are forced to start over. In this quiet suburb where the uncontrollable Steve and the overwhelmed Die live, they meet a new neighbor in Kyla (Suzanne Clement) who is a schoolteacher on break as she also has a terrible stutter. Kyla’s presence not only makes things easier but also add a new dynamic to the family as she would be Steve’s teacher and be able to control him while Die would work.
The relationship of the two women and a teenage boy would be an intriguing one as Kyla is someone that is in need to feel alive again even though she has a family. Yet, she remains haunted by something in her family life that doesn’t allow her to connect with her family as the presence of Die and Steve would help her. Die would feel easy with Kyla around to watch over Steve as it would give her the chance to find some work as well as live her own life. Yet, one notable flaw about Die is that she can be irresponsible and selfish as she is also trying to be young. For Steve, he is someone that is very troubled as it is clear that not having a father has affected him to the point where he’s acting out. Yet, he’s not really a bad kid but someone that is in need of attention as there’s a key scene in its third act where Steve is pushed to the edge as he is just trying to do something fun without harming anyone. Yet, it’s a moment that would force Die to ponder not just her own future but also Steve’s future if is ever going to have one.
Dolan’s direction is very unique not just for the intimacy that he creates but also in the aspect ratio in which he would create for this film. Shot in a 1:1 aspect ratio which is similar to what is often presented in cell phone video cameras through social media. It’s a format that is very entrancing on a visual scale where it does a lot to bring a lot of coverage to some of the film’s close-ups and medium shots. It’s also used a visual tool to display some of the emotional moments as it relates to Die and Steve’s relationship. Even as it has something that feels very claustrophobic in its framing where it plays into something that is unsettling and also scary due to some of Steve’s violent outbursts. Most notably a scene where he buys his mother groceries and a gift as Die is convinced that he stole those things as the two have a fight.
There’s a couple moments in the film where the film is presented in a traditional widescreen format as it plays into not just the happy moments involving Die, Steve, and Kyla but also in a sequence as it plays into what Die hopes for Steve to have in the future. The frame would open and close in these moments as it would intensify by the film’s third act as it relates to not just an incident that Steve caused early in the film but also the pressure for Die to make sure that her son doesn’t get into serious trouble. Also serving as the film’s editor and costume designer, Dolan maintains that sense of energy as it relates to Steve where he does use some fast-cuts but also knows when to slow things down as he does put in a lot style into the editing. As for the costumes, it also adds to the film’s visual tone as it shows who these people are where both Die and Steve are eager to look and feel young while Kyla is more conservative to play into her shy personality.
Still, Dolan maintains something is lively but also wondrous as it plays into this turbulent and complicated relationship between a mother and son as well as this outsider who tries to bring the best in both of them. Even as someone like Die is trying to balance what she wants in her own life and the hope that she has for her son while knowing that if things don’t go her own way. There is this law Overall, Dolan crafts a very chilling yet exhilarating film about a mother trying to help and ground her already troubled son.
Cinematographer Andre Turpin does amazing work with the film‘s cinematography to play up the film‘s very colorful and entrancing look from its locations in Quebec to the usage of lights for some of the film‘s interior settings. Art director Colombe Ray and set decorator Jean-Charles Claveau do fantastic work with the look of Die and Steve‘s home which is a bit of mess as it plays into their turbulent relationship. Makeup designer Maina Militza does nice work with the look of Die’s hair and some of the makeup she wears to look young. Sound designer Sylvain Brassard does brilliant work with the sound to capture some of the chaotic moments that occur in the drama along with some of the livelier moments in the film. The film’s music by Noia is excellent for its somber yet enchanting ambient score that plays into the drama while the soundtrack features a diverse array of music from Sarah McLachlan, Celine Dion, Dido, Counting Crows, Beck, Lana Del Rey, Andrea Bocelli, Simple Plan, Oasis, and many others as it’s one of the film’s highlights.
The film’s cast includes some notable small roles from Michele Lituac as the institution chief who would release Steve to his mother, Isabelle Nelisse as Kyla’s daughter, Patrick Huard as an attorney Die would go out with in the film’s third act, and Alexandre Goyette as Kyla’s husband Patrick who would watch some of Kyla’s time with Die and Steve from afar. Suzanne Clement is incredible as Kyla as this woman with a stutter who befriends Die and Steve as she would bring a great sense of balance into their lives as well as being able to defuse some of the tension as it’s a very understated yet intoxicating performance.
Antoine-Olivier Pilon is remarkable as Steve as a young, hyperactive teenager who is trying to please his mother while being very violent and troubled as it’s a performance that is quite complex as he brings a lot of layers to his character. Finally, there’s Anne Dorval in a phenomenal performance as Die as this woman that is trying to retain her youth as well as be a responsible mother where Dorval brings a sense of charm and energy to her performance as she also be just as intense as Pilon as it is really one hell of a performance.
Mommy is a magnificent film from Xavier Dolan that features top-notch performances from Anne Dorval, Antoine-Olivier Pilon, and Suzanne Clement. The film isn’t just one of Dolan’s more accessible features but also an engaging story about a tumultuous yet wild relationship between a mother and her son. Even as it manages to be told with such style as well as not being afraid of making the audience feel very uncomfortable. In the end, Mommy is an outstanding film from Xavier Dolan.
Xavier Dolan Films: I Killed My Mother - Heartbeats - Laurence Anyways - Tom at the Farm - (It's Only the End of the World) - The Death and Life of John F. Donovan - Matthias & Maxime - (The Night Logan Woke Up) - The Auteurs #46: Xavier Dolan
© thevoid99 2015
Written, directed, costume designed, edited, and starring Xavier Dolan, Les Amours imaginaires (Heartbeats) is the story of two friends who both fall for the same man as it complicates their own relationship. The film is an unusual love triangle that involves two men and a woman where it’s the man and a woman that both fall for another man. Also starring Monia Chokri and Niels Schneider. Les Amours imaginaires is a ravishing and evocative film from Xavier Dolan.
The film revolves around this bizarre love triangle between two men and a woman but it’s a film where a woman and a man are in love with the same man. The idea itself is very intriguing as it’s set entirely in Montreal where these two friends meet this young man from the Quebec countryside who arrives to the city as he befriends them both. The relationship becomes complicated once the story progresses as it affects the friendship of Marie (Monia Chokri) and Francis (Xavier Dolan) who are both eager to get the attention of Nicolas (Niels Schneider).
Xavier Dolan’s screenplay is quite simple in terms of creating dramatic tension as well as the complex relationship between Marie, Francis, and Nicolas. It also parallels with testimonials from friends of Marie and Francis about their own love lives and its failures as it would play into the trouble that they would embark in their pursuit of Nicolas. Nicolas is an intriguing individual who shares the same interests of the two but he remains ambiguous about what he wants. That sense of not knowing what he wants only adds to the romantic desperation for both Marie and Francis as it would eventually cause a schism into their own friendship.
Dolan’s direction definitely emphasizes a lot on style but it manages to be so much more as Dolan is aiming for something that is very simple and intimate. There aren’t a lot of wide shots in the film but Dolan’s approach to close-ups and zoom shots for the testimonial moments are very compelling as it plays into the fallacies of love. The compositions that Dolan uses for the film are entrancing from the way he captures love scenes as well as other moments that play into Marie and Francis trying to find ways to win over Nicolas as there’s a lot of slow-motion edits that are used. Also serving as editor and costume designer, Dolan maintains that sense of style in his slow-motion presentation to play into some of the emotional elements of the film as well as some scenes in the parties. The costumes themselves help add a sense of personality to the characters as both Marie and Francis are characters with style as the former is into vintage clothing.
The direction also has this atmosphere into the way Dolan frames all three characters into a scene where it is clear that Nicolas is in the middle of these moments whether he’s watching a movie with them or sleeping in the same bed with them. It plays into Marie and Francis sort of vying for Nicolas’ affections as its second half lead to the three spending time at the country home of Nicolas’ aunt where things do get very complicated. Especially as the drama does become emotional and the close-ups become intrusive to showcase the pain that emerges in this strange love triangle. All of which leads to revelations as well as the need to grow into adulthood as it relates to what people want in relationships and such. Overall, Dolan creates a very engaging and enchanting film about a strange love triangle between a man, a woman, and another man in the middle.
Cinematographer Stephanie Anne Weber Biron does brilliant work with the film‘s cinematography as it maintains something that feels natural in its many interior/exterior scenes with some stylish lighting scenes for some of the parties and intimate moments involving Marie and Francis with their own respective lovers. Set decorator Delphine Gilenas does excellent work with the look of the apartments and homes of the characters that help play into their personalities. Hair designer Philippe Sarfati does superb work with the look of the hairstyle of the three characters which also add character to the film‘s principle players.
Sound editor Sylvain Brassard does amazing work with the sound to create some unique sound textures in some of the parties scenes as well as some of the film’s intimate moments. The film’s soundtrack features an array of eclectic music from pop artists like Dalida, France Gall, and Renee Martel to electronic music from artists like the Knife, Fever Ray, Indochine, and Comet Gain as well as contributions from House of Pain and a classical piece by Johann Sebastian Bach that helps play into the many emotional aspects of the film.
The film’s phenomenal cast includes some notable small roles from Anne-Elisabeth Bosse, Olivier Morin, Magalie Lepine Blondeau, Eric Bruneau, Gabriel Lessard, and Benedicte Decary as friends of Marie and Francis who all provide testimonials about their own thoughts on love while Anne Dorval is fantastic as Nicolas’ mother whom Francis would meet during breakfast as she is also seen at a party of Nicolas as she is such a joy to watch. Niels Schneider is brilliant as Nicolas as this young man who arrives from the country as he is this ambiguous figure that seems to enjoy the company of Marie and Francis while not revealing what he really likes.
Xavier Dolan is amazing as Francis as this young man who falls deeply for Nicolas to the point that he would wear one of Nicolas’ shirts in his head and masturbate as he thinks Nicolas is in love with him. Finally, there’s Monia Chokri in a remarkable performance as Marie as a woman with a taste for vintage clothes who also falls for Nicolas as she tries to win him over through other vintage things as well as her Audrey Hepburn impressions as it’s a very jovial and fun performance.
Les Amours imaginaires is a marvelous film from Xavier Dolan that features great performances from Dolan, Monia Chokri, and Niels Schneider. It’s a film that explores the ups-and-downs about love as well as love triangles where a guy and a girl both fall for a guy. It’s a film that isn’t afraid of being style over substance while it’s also a film that also plays into what young people are looking for the crazy little thing called love. In the end, Les Amours imaginaires is a sensational film from Xavier Dolan.
Xavier Dolan Films: I Killed My Mother - Laurence Anyways - Tom at the Farm - Mommy - (It's Only the End of the World) - The Death and Life of John F. Donovan - Matthias & Maxime - (The Night Logan Woke Up) - The Auteurs #46: Xavier Dolan
© thevoid99 2015
Written, directed, co-costume designed, and starring Xavier Dolan, J’ai tue ma mere (I Killed My Mother) is the story of a 16-year old boy’s troubled relationship with his mother as he loves and hates her. The film is an exploration into a relationship between a single-divorced mother and her son as it’s told from the perspective of a young man confused by his relationship with his mother as he’s also coping with growing pains. Also starring Anne Dorval, Suzanne Clement, and Francois Arnaud. J’ai tue ma mere is a harrowing yet evocative film from Xavier Dolan.
The film explores a love-hate relationship between a 16-year old boy and his mother in the suburbs near Montreal as their relationship deteriorates in the course of a few months as it would lead to chaos and other things that played into their disintegrating relationship. Much of it is told by Hubert Minel (Xavier Dolan) as he would shoot his own video confessions to express how he loves and hates his mother Chantale Lemming (Anne Dorval) where Hubert wants to please her but also is annoyed by her. It’s a film that may have a simple story but one that is filled with a lot of complexities into a mother-son relationship as it raises questions into whether Hubert is the wild one as he’s always angry while Chantale is aloof at times where she’s often distracted by her own needs as she also changes her mind frequently. It adds to this relationship that is very tumultuous as Xavier Dolan expresses a young man’s growing frustration but also a woman feeling unappreciated and detached from her son.
Dolan’s screenplay is really more of a character study rather than a traditional script that follows this young man’s relationship with his mother. Especially as Hubert is also gay as he’s in a relationship with his classmate Antonin (Francois Arnaud) as Antonin’s mother Helene (Patricia Tulasne) is open about it but Chantale knows nothing about Hubert’s relationship with Antonin. When Chantale does find out, it adds to the already growing tension where her anger and strange actions would lead to Hubert seeking refuge at the home of his teacher Julie Cloutier (Suzanne Clement) who is concerned about Hubert’s well-being as she also notices his gift as a writer and painter. It’s something that Chantale doesn’t really know about as things do get more complicated when Hubert’s estranged father Richard (Pierre Chagnon) appears with some news that only increased Hubert’s hatred towards his mother.
The film’s second half does change a bit once Hubert is put into a different situation and into a different world as it plays into more of Hubert’s own melancholia as well as trying to figure when he and his mother were happy. It also forces him to reflect on who he is and why he is always causing trouble as the third act also plays into Chantale’s own realization about her role as a mother.
Dolan’s direction is quite mesmerizing as it has something that has a cinema verite style in its digital video look but it’s also quite rich in the way it conveys a sense of fantasy in Hubert’s desire for a good relationship with his mother. There’s also elements that feels real in the way Dolan uses hand-held cameras while shooting in black-and-white for his confessional scenes that are very intimate with its usage of close-ups and extreme close-ups. There’s also some 8mm footage that is shown to convey the happier times between a young Hubert and Chantale as it represents what their relationship once was as opposed to the sense of tension and turmoil that looms in their present relationship. Even as Dolan frames his characters in unique positions through medium and wide shots to play into that growing tension.
The approach to framing and how Dolan creates a lot of these mesmerizing images along with stylish insert montages add to the beauty of the film. Especially as these montages play into Hubert’s own fantasy and views about what he thinks about his mother and himself. Dolan’s usage of blurs and slow-motions for some scenes at night as well as some of the film’s emotional moments showcases Hubert’s rage. The third act definitely plays to that sense of breakdown in their relationship where both Hubert and Chantale are lost as they’re trying to understand each other from afar. Even as there’s a very chilling moment involving Chantale about her role as a mother which is a very intense moment in the film. Overall, Dolan creates a very eerie but enthralling film about a complex and tumultuous relationship between a son and his mother.
Cinematographers Stephanie Weber Biron and Nicolas Canniccioni do amazing work with the film‘s cinematography with its rich yet low-key look for many of the film‘s nighttime exterior scenes along with unique lighting for the interior scenes along with some gorgeous look in the daytime interior/exterior scenes. Editor Helene Girard does brilliant work with the editing with its very stylish approach to jump-cuts, slow-motion cuts, fast-cuts, and montages as it adds to the film‘s very offbeat tone. Set decorator Anette Belley does excellent work with the look of the home that Hubert and Chantale live in as well as Antonin’s home and how it plays into the personality of those characters.
Co-costume designer Nicole Petellier, along with Dolan, does fantastic work with the costumes from the stylish yet casual look of Hubert to the clothes that Chantale wears as it crosses the line between tacky and revolting which plays to the film‘s offbeat look and style. Visual effects supervisor Martin Lipmann does nice work with some of the film‘s minimal visual effects as it plays to a few of the fantasy sequences in the film. Sound designer Sylvain Brassard does excellent work with the sound to convey some of the sparse moments in Hubert and Chantale‘s home as well as some of the scenes that occur in the places the characters go to. The film’s music by Nicholas Savard-L’Herbier is wonderful as it’s also quite sparse in its melancholic tone with its piano-based score while the soundtrack is a mixture of classical, pop, and electronic music.
The film’s superb cast features notable small roles from Benoit Gouin as a school principal who talks to Chantale late in the film, Monique Spaziani as Chantale’s friend Denise, Patricia Tulasne as Antonin’s mother, Niels Schneider as a classmate Hubert meets in the film’s third act, and Pierre Chagnon as Hubert’s estranged father who appears to confront him with his mother in a very intense scene. Francois Arnaud is terrific as Hubert’s boyfriend Antonin who copes with Hubert’s mood as well as trying to help him as he wonders how much trouble he could get into. Suzanne Clement is fantastic as Hubert’s teacher who is amazed by his artistic talents as well as sympathetic over his unhappy home.
Anne Dorval is phenomenal as Chantale as this woman who is eager to reclaim aspects of her youth while dealing with Hubert’s many moods and the secrets that she doesn’t know about him as it’s a very intense and complex performance from the actress. Finally, there’s Xavier Dolan in a remarkable performance as Hubert as this angry young teenager who copes with his mother’s frequent forgetfulness and the sense of neglect as he acts out while displaying a sensitivity and torment that most teenagers go through in unhappy homes.
J’ai tue ma mere is an incredible film from Xavier Dolan that features powerful performances from Dolan and Anne Dorval. The film is definitely a very stylish but engaging tale about a young man’s troubled and complicated relationship with his mother. Especially as Dolan pulls no punches in creating characters who are very dysfunctional and maybe don’t have the tools to be mothers and sons. In the end, J’ai tue ma mere is a sensational film from Xavier Dolan.
Xavier Dolan Films: Heartbeats - Laurence Anyways - Tom at the Farm - Mommy - (It's Only the End of the World) - The Death and Life of John F. Donovan - Matthias & Maxime - (The Night Logan Woke Up) - The Auteurs #46: Xavier Dolan
© thevoid99 2015
