“…Dolan has come up with yet another film of quite devastating impact.”
Director Xavier Dolan is no stranger to confrontational, explosive content, and his latest piece, It’s Only the End of the World – based loosely on Jean-Luc Lagarce’s play – continues in a familiar vein.
Employing the incredibly effective, yet highly claustrophobic technique of using tight close up shots pretty much throughout, Dolan’s film conjures up a suffocating, unsettling, and deeply awkward air, right from the start.
Louis (the softly-spoken Noah Wyle-alike, Gaspard Ulliel), is returning home after an absence of some twelve years. A cursory glance at the film’s synopsis in advance of any viewing will make sense of much of the film’s content, however, going into it blind as I did left much room for ambiguity. There are certainly many ways of interpreting the array of dysfunctional and erratic behaviour on display without necessarily coming to any sort of concrete conclusions, let alone the correct one.
For those that wish to know: Louis is returning home to announce that he is terminally ill and that he is not long for this world. Exactly what is wrong with him is never established owing to the absolute barrage of issues and the undercurrents of family bitterness and self-interest that completely swamp Louis and any attempts he may make to announce his news during the visit.
Chief protagonist in conjuring up the absolute tsunami of ill-feeling that seems to completely envelop the family is older brother, Antoine (an absolutely sensational bordering on unhinged performance from Vincent Cassel), whose anger-fuelled sarcasm and acerbic ripostes do little to encourage a free-flowing dialogue of compassion amongst the family members.
Younger sister, Suzanne (the ever impressive Léa Seydoux), so keen to catch up with and indeed get to know the brother that’s been absent for most of her formative years, is given scant opportunity to do so thanks in part to her own selfish interests, but chiefly due to the ever-present dark cloud of misery that Antoine insists on hanging heavy over the party.
A strong -willed mother (Nathalie Baye), and Catherine (Marion Cotillard), complete this particular gathering of doom, in amongst whom, Louis waits patiently and nervously for the opportune moment to announce his grave news.
It is a moment that never comes, although there are insinuations during the film that some family members may be marginally less clueless of Louis’ intentions than others.
The whole thing remains fairly ambiguous, though Dolan does superbly well to ramp up the atmosphere and tension throughout to the point at which something surely has to give.
Or perhaps not? You’ll need to see for yourselves.
It’s Only the End of the World is a dialogue-heavy piece, yet Dolan finds ways of administering his own brand of agitated energy and dynamism to proceedings, made so much easier thanks to an absolutely stella cast performing at the very top of their games.
With the highly effective use of montages and a score that successfully swells the already palpable levels of negative tension to at times unbearably bloated levels, Dolan has come up with yet another film of quite devastating impact. A highly challenging piece that frequently threatens to boil over, yet, is just about reined in sufficiently to keep us guessing right through to the film’s ambiguous conclusion.