Xavier Dolan

Director, Actor, Screenwriter
Montreal , QC
Quebec CA
Lives in
Montréal , QC
Quebec CA

Actor, Director. Starting his career early as a child actor, Dolan first made his mark on Québec audiences by appearing in notable kids programming and commercials but also in many films and television series such as J’en Suis! and Omertà, le loi du silence. Dolan keeps on acting in his teen years but it’s at 17 that dream of making a film and having it screen at Cannes. J’ai tué ma mère, his first feature, is a semi autobiographical tale of coming-out in a difficult and peculiar mother-son relationship. Completing it at 19 and without financial help of any of Quebec’s cultural institutions, Dolan got the chance to screen his film at the Cannes Film Festival in 2009, in the Un certain regard section, where the film was met a great success. Wearing his influences on its sleeves, J’ai tué ma mèrestylistically borrows from Truffaut, Godard, Almodovàr and Wong Kar Wai. After Cannes, Dolan’s explosion on the international film scene polarized opinions. Some found him young, arrogant and elitist, while others embraced the his success and asked for more.

His next film, Les amours imaginaires, put him on the International map as a force to be reckoned with. Also screened at Cannes, the film was a commercial success in France and was embraced by many audiences in the U.S. but failed to reach an audience in Québec where it struggled commercially. em>Laurence Anyways was Dolan’s first attempt at tackling queer themes. Having focused his point of view on gay male narratives in his two previous films, Anyways deals with the story of a man, who loves a woman and wants to become one. Premiering at Un Certain regard, winning a prize for its main actress, Suzanne Clément and the Queer Palm. Laurence is a period piece set in the 1990’s, and covers over 10 years in the life of his characters. This is also the first of his feature where Dolan was not featured as an actor. Though applauded, the film was critique for the lack of depth in the depiction of its main trans character : " This being the case, the seeming lack of desire (or maybe ability) to actually probe his trans character's mindset, combined with his gaudy, film-school-reeking aesthetic, leads me to suspect the worst possible conclusion: that Dolan didn't actually care about visibility for trans people, he only cared about visibility for himself as someone who made a trans film and possesses a distinct authorial stamp." Racine Charlotte http://www.rogerebert.com/balder-and-dash/who-represents-on-laurence-any...

Moving quickly in between productions, 2013 saw Dolan make his adaptation of Michel-Marc Bouchard’s acclimated play Tom at the Farm. Set in rural Quebec, Tom arrives at the farm of his dead former lover to celebrate his funerals to find out that many secrets are being kept from the grieving matriarch, including the fact that her dead son was gay. The film was a stylistic departure for Dolan as he steered into the psychological thriller genre and borrowed heavily from Hitchcock. For the first time he worked a music composer and collaborated with André Turpin, one of Québec’s most renowned cinematographers. 2014 saw Dolan being selected in the official competition at the Cannes Film Festival with Mommy. Having been relegated to the side competitions up until that moment, Dolan became a sensation during the festival as one of the youngest directors to compete in the prestigious Official Competition. The film telling another complicated mother-son relationship, won him the Jury Prize ( shared with Jean-Luc Godard for Adieu au language).