It’s been a long time since I’ve gone to see a film and have not regretted spending my money on a ticket. Admittedly this particular one was playing at MIFF, so there’s some sense of security with the ones they choose to show. I’ve also seen some of Xavier Dolan’s other work and had basically already fallen in love (with him… and his movies). But this is also why I walked into the cinema somewhat tepidly: I didn’t want my high expectations to be let down. Luckily, they were not.
Tom At The Farm moves forward at a steady pace – we are effectively drawn into the world of the film’s protagonist, Tom. While some may consider the narrative slow, it’s this gradual flow that effectively allows the audience to empathise with Dolan’s characters. Just like Tom, we are haltingly enveloped by The Farm until, quite suddenly, we realise that we’ve come too far and there’s no going back. This is where the sinister underlay of Dolan’s steady, sweeping camera and Gabriel Yared’s classical score truly come to surface; the film takes quite a sharp turn and what ensues is a horrifying look into the multi-faceted effects of grief, trauma, love and dependency.
Just like it’s trailer, I won’t reveal any more of the film’s plot. All I will say is see it if you can.