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Perhaps best known as the film that Jessica Chastain’s role was cut from, Xavier Dolan’s upcoming drama is still plenty star-studded, featuring a cast that includes Natalie Portman, Jacob Tremblay, Thandie Newton, Susan Sarandon, and Kit Harington. Though little is truly known about the project — only a single 17-second teaser trailer has been released — it’s described as a reminiscence on the life and death of an American TV star (Kit Harington), as told through his then 11-year-old pen pal (Jacob Tremblay)
You can see Xavier Dolan reaching for something grand with this film, a bigger story than he has ever attempted before and even more romantic questions of identity and self, but while one of the problems of 'The Death and Life of John F. Donovan' is that there are too many questions being asked, it doesn't mean that any of them aren't worth asking. This is still a Xavier Dolan film, and for all the right reasons, even down to his continuing dissection of the complex relationships between mothers and sons, and when he has sure footing, his flashes of spectacle in this film are really wonderful. He also connects so beautifully with his cast, with almost all of them in perfect step with him. This isn't a hidden masterpiece, but it also is nowhere near a disaster. It's an arresting misstep from a deeply passionate filmmaker who cares about every frame, who is trying for something genuine and honest, and yes, he chooses the framework of the privileged and the white, but these are (for all their problems) our modern mythical figures. To Rupert, John is a god, a superhero, an ideal to reach for, and the ultimate understanding of the film is that it is far more important to be human than iconic. In many ways, through his journey to discover that for himself, this is the gift that John gives Rupert in his letters. 'The Death and Life of John F. Donovan' will be a curiosity in the (hopefully long) career of this gifted filmmaker, and to be honest, a failed curiosity from Xavier Dolan is still a film worth every second. - Daniel Lammin Read Daniel's full article... https://www.maketheswitch.com.au/article/review-the-death-and-life-of-john-f-donovan-xavier-dolans-flawed-but-fascinating-english-language-debut
Eyal, an Israeli Mossad agent, is given the mission to track down and kill the very old Alfred Himmelman, an ex-Nazi officer, who might still be alive. Pretending to be a tourist guide, he befriends his grandson Axel, in Israel to visit his sister Pia. The two men set out on a tour of the country, during which Axel challenges Eyal's values.
Two men share an odd friendship while they care for two women who are both in deep comas.
County Durham, England, 1984. The miners' strike has started and the police have started coming up from Bethnal Green, starting a class war with the lower classes suffering. Caught in the middle of the conflict is 11-year old Billy Elliot, who, after leaving his boxing club for the day, stumbles upon a ballet class and finds out that he's naturally talented. He practices with his teacher Mrs. Wilkinson for an upcoming audition in Newcastle-upon Tyne for the royal Ballet school in London.
Following the tragic death of her teenage son, Manuela travels from Madrid to Barcelona in an attempt to contact the long-estranged father the boy never knew. She reunites with an old friend, an outspoken transgender sex worker, and befriends a troubled actress and a pregnant, HIV-positive nun.
Rodeo cowboy Jack and ranch hand Ennis are hired as sheepherders in 1963 Wyoming. One night on Brokeback Mountain, they spark a physical relationship. Though Ennis marries his longtime sweetheart and Jack marries a fellow rodeo rider, they keep up their tortured, sporadic love affair for 20 years.
Daniel, a successful TV journalist living life in the fast lane, has fallen into a deep depression. His seemingly perfect life suddenly collapses under him when panic attacks force him to deal with himself and his past.
In this thoughtful Scandinavian drama, a teenage boy wrestles with his sexuality and learns that most of his deepest fears were unfounded. Sebastian is almost 17 when he figures out that he is a homosexual. Though he lives with wonderful, stable parents and has a good-hearted sister, he finds himself wracked with turmoil and suddenly withdraws from them all. The more they try to understand why, the more distant Sebastian becomes. Things get worse when he falls in love with the handsome Ulf, who comes from an unstable, tempestuous home. Sebastian realizes he is lucky, but still can't help but become irritated when he brings Ulf home for dinner. His parents are too nice and this quietly infuriates their son. Eventually they leave the two boys alone in the house. Sebastian have great fun doing teenage guy stuff, but then they take a bath together and it is then that Sebastian tries to kiss Ulf.
About two men. Lovers, but not in love. Heroes of three episodes in different times and places. In 1978 southern California they escape the city to go and enjoy themselves in a motel; in contemporary L.A they put up a play in a gentrifying neighborhood in the eastern part of town; and in the third episode, filmed in late 2014, taking place in an undefined place, they are victims of a terror attack on a nightclub.
An alcoholic ex-football player drinks his days away, having failed to come to terms with his sexuality and his real feelings for his football buddy who died after an ambiguous accident. His wife is crucified by her desperation to make him desire her: but he resists the affections of his wife. His reunion with his father—who is dying of cancer—jogs a host of memories and revelations for both father and son.
A philistine in the art film business, Jeremy Prokosch is a producer unhappy with the work of his director. Prokosch has hired Fritz Lang to direct an adaptation of "The Odyssey," but when it seems that the legendary filmmaker is making a picture destined to bomb at the box office, he brings in a screenwriter to energize the script. The professional intersects with the personal when a rift develops between the writer and his wife.