Chasing the feel of watching It's Only the End of the World ? Here are the movies we recommend you watch after It's Only the End of the World (2016).
Based on a play and taking place in the span of one afternoon, It’s Only the End of the World is about a successful writer returning to his hometown in rural Canada baring life-altering news. But before he can share anything, he is faced with the remnants of his life prior to moving out and his family members’ eccentric, but relatable, personalities. This is a movie by one of the most interesting directors working today, Canadian Xavier Dolan. Contrary to his plot-heavy Mommy (which earned him the Cannes Jury Prize at 25 years old), in It’s Only the End of the World the story unfolds in a far more important way. It’s an exploration of dynamics: between brother and sister, between son and mother, between brothers, etc. Don’t go into it expecting things to happen, or waiting for what will happen in the end. Instead, the purpose of this film can be found in how Xavier Dolan handles his usual themes of family through big talent: Mario Cotillard, Vincent Cassel, and Léa Seydoux among many others.
This quiet French coming-of-age romance is about two boys who live in the Pyrénées mountains in the south of France. Getting to school is an ordeal for both of them but more so for Thomas, the son of shepherds, who has to travel for two hours each way. Damien, the other teenager, lives closer to the school in a big home with his mother who is the town's doctor.
The two boys initially fight at school, taking turns at bullying each. Damien's mother intervenes, inviting Thomas to live with them so that he can be closer to school.
Co-written by Céline Sciamma (Portrait of a Lady on Fire) and the movie's legendary director André Téchiné.
French megastar Isabelle Huppert plays a passionate philosophy teacher this observant, dialogue-heavy drama. Once driven by her ideas and reflections on life, Nathalie's life is now reduced to taking care of others: a demanding mother, standoffish husband, a high-school in which politics have taken over, and a decaying publishing house that makes her pay for copies of a book she once wrote. But an event involving her husband is an invitation for Nathalie to step out of the mundane and rekindle with her past self. If you like quiet character studies, you will love Things to Come.
Arch-provocateur Paul Verhoeven received widespread acclaim for his assured and darkly funny adaptation of Philippe Dijan’s award-winning novel, his first film in the French language.
It’s a controversial revenge thriller about a domineering businesswoman who is raped in her home by a masked man. Refusing to let the attack affect her life, she refuses to report the incident and tracks down the assailant herself.
Verhoeven directs the material with confidence and a troubling lightness of touch, while fearless Isabelle Huppert gives one of the best performances of her long and illustrious career. Some people found Elle empowering while others felt it perpetuated misogynistic attitudes. Either way, it makes for a passionate post-viewing discussion.
This drama from France and Canada is about Matthieu, a 33-year-old from Paris who never knew his father. One morning he gets a call to go to Montreal, where he is told his dad has passed away and where a funeral will take place.
To add to his confusion, upon arrival Matthieu is asked to conceal his identity from his step-mother and step-brothers.
A Kid is made as though the filmmaking styles from the countries it’s set in were mixed together. There are complicated family dynamics reminiscent of Xavier Dolan movies; and identity issues and comments on different compositions of families like the films of Mia Hansen-Løve.
Xavier Dolan’s emotionally charged directorial debut centers on the complex relationship between 16-year-old Hubert and his mother, brought to life by Dolan himself and Anne Dorval, respectively. The film paints an authentic and all-too-familiar picture of two people who love each other yet clash in similarly self-centered and stubborn ways.
The mother-and-son duo vacillate between love and hate in a screenplay full of drama. The cinematography, relying much on negative space, perfectly evokes a sense of disconnect and animosity. However, there is little subtlety to be found here, much like Hubert’s sexuality being embodied by a poster of River Phoenix displayed in his bedroom. The rawness and heightened telling of events indicate that this story is as fresh and unpolished as then 19-year-old Dolan’s own feelings about family dysfunction, particularly mommy issues. The heavy-handedness and moments of exaggeration in his quasi-autobiography are obvious, a fault of execution that one can attribute to lack of experience.
Still, the powerful visuals and dialogue hint at a vision of what more to expect in Dolan’s now-celebrated career. I Killed My Mother, by all accounts, fulfills its role as his promising directorial debut.