But there is nothing kitchen-sink about this stunning breakout film. Dolan (who made last year’s art-house Tom at the Farm) edits Mommy into something more, finding dreaminess in the dappled autumn sunlight peeking through a curtain, soaring with Steve as he rides a shopping cart through parking lots, or unabashedly cranking a Celine Dion hit for a truly transcendent kitchen dance party.
Mommy ends up feeling like it’s about really big subjects, like: is love enough to save someone? Can we ever really control another human being? And what the hell did any of us do to deserve this?
Why to watch Mommy (representing Canada into the foreign language film Oscar race).