Dangerous neighbor

The fact that Xavier Dolan is a poser, and one of the most shameless in modern copyright cinema, “Tom on the farm” resembles more or less immediately. The sedan removed from the air from the air cuts the geometrically accurate squares of the rural fields. In the car - a painted blond (of course, Dolan himself - who else?). The blond is listening to the tear-off-old female cover on Michel Legrand (who else?). The blond is soundless (the music is jamming), but very diligently, with full tension of the facial muscles sobs. These are powerful, even outrageous, painfully acting on the viewer, who had not yet had time to get a job in the space of the film, scenes; In essence, data on the pornography of the landscape and pornography of emotions. Pose, yes; It should be borne, however, to take into account that not only Dolan, but also his hero, the city gay Tom, who decided to appear in the small homeland of his boyfriend, is a poser here. To the funeral of the latter.

This is a desire to declare themselves the unfortunate rural relatives of the lover (Tom has also prepared farewell speech - complete pathetics) - of course, a pose, not so much suffering as a game in him. Tom will fall at the barn, find the key under the bench, go inside, fall asleep right at the dining table. The game will not end when the mother’s mother will find him in this form (“The man, what are you doing here?” Tom is erasing the saliva from his face instead of an answer), but, having played in Liebestod , the city guest will not notice how the bets will increase, and he suddenly turns out to be unable to rewrite the rules for himself. Tom, of course, imagines himself the outrage of the calm, the only carrier of truth in the district-the deceased has lived with him for the past few years, and not with his mother-retirement, who dreamed of a daughter-in-law and grandchildren, and not with a sociopath's brother in the boots stained with manure. The imagination of this truth - as well as his own status - he will feel only with the first peasant blow to physiognomy.

It is easy to be gay, a city dweller, a hipster. It is difficult, almost impossible to be yourself.

Bruises on Tom's face will be added in parallel with the disappearance of logic in his actions. Starting the film from an operetta tear, Dolan gradually leads him further into the stress area, however, rather, the internal one - and much more sincere. Having buried her boyfriend, Tom will remain on the farm, plunging deeper into the Morok of Total submission to his new owners. Suborders erasing any initial plot motivations is an illogical, absurd, stretched blond life in the village is most like a self -sacrifice, but another thing is that he himself does not know why he sacrifices himself. Tom will again and again receive a mug from Francis, it will be all denser to put on a mask of the hero of a strange psychodetactive, looking for a skeleton-macguffin in the past, and when he finds it, at the same time with the viewer will experience disappointment, dissatisfaction. It is not surprising - “Tom on the farm” is not a thriller, and Dolan is nothing the Saspens not in order to build an intrigue around the hero.

Together with the logic of genre schemes in Tom, acquired self -affirmation strategies are dying for years. It is easy to be gay, a city dweller, a hipster, a designer, a lovers, abandoned by a lover, sufferer, martyr for the memory of intimacy - or what other larvae are tried by the hero of Dulan. It is difficult, almost impossible to be yourself. It seems, “Tom on the Farm” is about this. The hero will suffer and give his tormentors an aura of mysterious, sacred power-until it turns out that those no less posers than he, simply playing out a long time ago, once and for all selected roles. Sadist Francis seems inexplicably harsh, biased by Judge Tom exactly until he realizes that he provokes him himself, and the main antagonist looks at him from the mirror. Dolana was always interested in the protective mechanisms of self -determination, with which his heroes were fenced off from reality - up to the cocked on his own image and even the body (most widely revealed in the transgender epic "And yet Laurence), but attention to them, up to the new film, bordered on narcissism. “Tom” is not the most perfect and certainly not the most charming film by the director (the expanded rhythm and the naturally changing direction can be strewn). But he is clearly the most adult. Tom is beaten - both he and the viewer for two hours, refusing both of them in a full catharsis (which would justify the previous ordeals of the hero, turning them into life experience), Dolan only indicates the opportunity to start all over again, teaching him only one lesson, the meaning of which is that involvement in the progressive minority does not make you a less dangerous neighbor, and evil may well be wearing. Skinny-jeans.