From one point of view, Xavier Dolan’s career looks like a precocious, single-minded blitz. As a director (he’s also a writer and actor), he’s made eight films between 2009 and 2019, with his first coming at the age of 20 and his latest, “Matthias & Maxime,” premiering at the Cannes Film Festival in the main competition on Wednesday. It is the sixth of Dolan’s films to play in Cannes, with “Mommy” winning the Jury Prize and “It’s Only the End of the World” winning the Grand Prize.
So why does “Matthias & Maxime” feel like a comeback of sorts for the former wunderkind who turned 30 two months ago? Why does it feel as if Dolan’s blitzkrieg of a career had reached a crisis point where it badly needed a film as sharp and warm as this one?
Mostly, that’s because of Dolan’s last two films.
So why does “Matthias & Maxime” feel like a comeback of sorts for the former wunderkind who turned 30 two months ago? Why does it feel as if Dolan’s blitzkrieg of a career had reached a crisis point where it badly needed a film as sharp and warm as this one?
Mostly, that’s because of Dolan’s last two films.
- 5/22/2019
- by Steve Pond
- The Wrap
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