The story of Matthias and Maxim is very simple, just like the title, two people, two lines. The two lines have three brief intersections at the beginning, middle and end, corresponding to the gradual progress of the two people’s feelings. At other times, it is difficult for the life of Marx (Maxim) and Marty (Matias). Description of self-sustaining ambiguous feelings.
In the beginning, Marx just wanted to help, Marty lost the bet, so the two became the protagonists of the film made by friends, pretending to kiss in front of the camera like a torrent of monsters opened the two-hour gap between them. The climax occurred at Marx's impending party to Australia. The two met for the second time. The two depressed people in the small storage room met frankly, forgetting about it, but still in estrus and stop at courtesy. Finally, before Marx set off, he opened the door, and Marty was standing on the road in front of the door, not knowing whether he came to see him off or stay, the two laughed at each other, and the film stopped abruptly.
The themes of LGBT and mother-child discord; holding incomprehensible mv-style fuzzy empty mirrors; scenes where a few people are intensively talking and suddenly burst into laughter. Director Dolan once again gathered all the above elements in this film, in In his golden age of creation, he still seems to have not found his breakthrough, but personally feel that this film is still his best work second only to "Mommy".
First of all, all the above elements are converged in the film, which makes people aesthetically tired but not disgusting. Secondly, the story is smooth. Thinking back to the acrimony and bluntness of "I Killed My Mom" back then, I really can’t like that movie, but with the peak of "Mommy", the smoothness of the narration is still within Dolan’s level. , No breakthrough. Then there is the atmosphere created. The scene where the two cars meet on the side of the road before the party, the person who secretly loves is beside him, Marty has to pretend not to care, and clearly longs to meet, but when they meet, he has to pretend to be nonchalant. The occasional hand-held photography, the occlusion in front of the camera and the actor's light-weight eyes are very good to set off this ambiguous atmosphere. There is also the passion scene at the party between the two, the carnival of people outside the door, the cramped room, the warm light, the misty rain cloth hanging on the window, the door locked from the inside, no one will doubt the sudden disappearance of the two. And this safe haven in a storm created perfect conditions for the two to face their desires squarely. However, atmosphere creation has always been Dolan's strong point. The plot of "Tom's Countryside Travel" many years ago has been completely forgotten, but its weirdness has been equated with this film in my memory.
One thing I have to say about this film is that the director clearly follows two lines of narrative. The two clues correspond to different classes, and the film expression methods are all serving this. Marty has a good family background and the actors are tall and tidy. , A neat suit, highly educated, high-level office buildings, free conversion between French and English, in a few one-man shows, the lens is clean and textured, and the soundtrack is also smooth piano music. But Marx is in the completely opposite situation. Dolan himself is not tall. This time he painted a red birthmark on his face. He spoke stubbornly in English, had no job, had worn-out clothes, and had to deal with a grumpy mother. He went. Australia is almost avoiding and fleeing. The two protagonists correspond to two expressions. Although this method can show the gap drawn by the status and status gap between the two, it also brings a clear sense of separation to the film.
To this relationship, the attitudes of the two protagonists are also clear. Marx has no ambitions, and Marty suppresses his desires. The director’s description of Marx is lacklustre, on the contrary, Marty’s line is quite interesting. The picture of Marty’s childhood painting that Marx found at Marty’s mother’s house and the kiss in high school mentioned in the opening dialogue show that the two people He has long admired each other, but with the difference in status and class, Marty has been suppressing (and having a girlfriend) until he forgets this feeling, and the kiss in front of the camera wakes him up again. The director just intercepted the storyline of about ten days, and the previous story may be taken in one stroke or hidden in the language of the lens.
In general, the desirability of this film is that the director used different expressions to show the living conditions of the two protagonists. This has become a voice-over and aftertaste that complements the plot. This aftermath is combined with enough empty mirrors given by the director. Brewing emotions makes the plot appear smooth and credible, so it looks good, but Dolan still hasn't broken through, as he did in "Mummy".
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