Just the Apocalypse: Or the Perfect Little Dolanian Breviary

Grand Prix at the 2016 Cannes Film Festival, César for Best Director, Actor and Editing, and won several Iris Awards including Best Film, Just the end of the world, adapted from Jean-Luc Lagars’ play, with its cast (Marion Cotillard, Nathalie Bay, Léa Seydoux, Vincent Cassel and the late Gaspard Ulliel) propelled Xavier Dolan into the stratosphere of great world writers. However, there was no “Just Dolan.” Evidence.

A scene from “It’s Only the End of the World” by Xavier Dolan Photo: Shayne Laverdiere / Sons of Manual

Dolan’s obsessions

The father whose absence established identities, the glowing mother with a loud mouth, the screams, the tears, the need for affection and the love that overflows from every shot:

as in I killed my mother where MomDolan rediscovers his major themes, transporting them to the closed doors of the family home where they still fester, if that’s possible.

Marion Cotillard and Vincent Cassel in a scene from Xavier Dolan's
Marion Cotillard and Vincent Cassel Just the end of the world by Xavier Dolan Photo: Shayne Laverdiere / Sons of Manual

Style, elegance and elegance

Here, slow motion on flying blankets. Oh, the crockery details classic. Ah, the champ arrives by car on Gabriel Yard’s violins. Here again there is an exhibition of portraits of the proletarians, or musical explosions in which cowardice rubs with great emotion.

Yes, as in imaginary loversAnd Lawrence anyway where Tom on the farmDolan uses all the capabilities of the Cinema Tool to better bring out his lively, lively style on screen.

Close-up of a smiling man (Gaspar Ulliel)
Just the end of the world, by Xavier Dolan Photo: Shayne Laverdiere / Sons of Manual

The deep emotion of the characters

As always with Dolan, the characters are actually vectors of heightened emotion.

The angry rage of one responds to the pathological shyness of the other (Cotillard and Cassel, astounding). One’s reserve (Uliel, in his best role) responds to the apparent indifference of one (Seydou) and the poor tenderness to control the other (Bay, Imperial). But above all, they are expressing, in their own distinctive way, the flood of emotions that Dolan brings to an escalation to allow it to explode in an irresistible wave.

A busy-looking woman (Marion Cotillard) in front of a woman in a flashy outfit (Natalie Bay).
Just the end of the world, by Xavier Dolan Photo: Shayne Laverdiere / Sons of Manual

Pure Dolan…but reinvented

If only French actresses and comedians had statist symbols, Just the end of the world It will be of little use. And thanks to the work of Andrei Turpin, he found his own voice. Covering faces with an almost Bottician aura, a turbine light, colder and harsher than the script determines (we’re in the middle of a heat wave), accompanies a stage show as close-ups pile up, from above, often biased.

Sensual, as close as possible to the gaze of these artists’ rolls in particular, it imposes an intimate relationship that, of course, can be awkward, but it ends up winning the viewer’s support.

Just the end of the world On ICI Télé on Friday 15th April, 11:02pm Trailer (Source: YouTube)

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