1. Objectifs

Intentions :
Author investigates Xavier «Dolan’s maternal representations in [some of his movies] and propose a reading of these figures as archetypes of the contemporary Québécoise and her social, economic, and political struggles.» (p. 170)

2. Méthode

Échantillon/Matériau :
L’auteur analyse deux films du réalisateur Xavier Dolan: J’ai tué ma mère (2009) et Mommy (2014).

Type de traitement des données :
Réflexion critique

3. Résumé

The author argues «that J’ai tué ma mère addresses motherhood at conceptual and historical levels, whereas Mommy offers insights into more current and identifiable specimens of womanhood/motherhood. It came to [his] attention that Mommy is at times perceived as Dolan’s way to redeem “his” mother in J’ai tué ma mère. Such a perplexing remark reveals two issues. First, it is oblivious to the final scene, in which Chantal tells off the school principal, rejects his patriarchal accusations of her incompetence, and happily reunites with her son. Second, it suggests that Chantal was indeed a bad mother in need of redemption, thus failing to notice how the entire film tries to deconstruct social expectations vis-à-vis mothers, subsequently reinforcing that motherhood as performed by Diane in Mommy (caring and fully dedicated to her son’s well-being) is the right model. […] While both films rely on a mother-son dynamic, the first work demonstrates the crippling effects of historically inherited normative discourses, whereas the second reflects on the impact of present sociopolitical difficulties. Although these issues arise from specific political decisions in the Québécois context, they should easily resonate with decisions made presently in other Western countries.» (p. 171) «Beyond the maternal character, Dolan forces a broader reassessment of social dysfunctions, thus showing the intimate and intricate connection between the power of cinema and the power of politics.» (p. 187)