Tom at the Farm

Set in a lonely farm in Quebec, TOM A LA FERME concerns the inner life of the eponymous central character (Xavier Dolan) mourning the death of his lover. He goes to his lover's family's isolated farm for the funeral, and there encounters the mother (Lise Roy) and her other son (Pierre-Yves Cardinal), neither of whom were aware of the dead lover's sexuality.

The film concentrates on the gradual discovery by the family of their dead son's secret, and how it affects them. Francis is both horrified yet strangely affected; as the action unfolds, he develops an unnatural affection for Tom that is both sadistic and sexual. The mother seems to be unaware of what's happening around her, but perhaps she is just deliberately blinding herself to the truth as a means of self-protection. Tom finds himself imprisoned at the farm; even when his close acquaintance Sarah (Evelyne Brochu) comes to visit, he cannot contrive an effective escape.

TOM A LA FERME concentrates on the ways in which people conceal their private inclinations, even from their nearest and dearest, and the damage that actually causes them. This is especially true of Francis, who emerges from the film as a seriously disturbed character, masking his sexual inadequacies beneath a veil of strength. Yet the process of self-discovery for all the characters is an enabling one - so much so that when Tom finally escapes from the farm, he does not appear very happy to have done so. The film ends with a shot of him re-entering the city of Montreal, the lighted skyscrapers flashing by outside his car windows, with his face set in an expressionless gaze as he drives. It seems that 'freedom' for him is nothing more than a form of imprisonment; by extension, therefore, his imprisonment at the farm was an opportunity to discover some form of freedom.

Filmed on a series of bleak winter days in stark, washed-out colors, TOM A LA FERME is a searing psychological examination of sexualities and how they are often willfully concealed.

This film succeeds in pulling off what "Stranger By The Lake" totally failed to do. The darkness draws you in and intrigues us, and the characters are brilliantly acted and engaging.

Some of the editing is slightly strange, or perhaps the narrative would be a better way to describe it, i.e. there are a couple of transitions between scenes where I found I was having to piece things together arbitrarily, in my opinion, meaning I had to concentrate hard. However I'd much rather this than everything being spelled out in children's building blocks as is the way with many American films.

This is one of the few "gay" films I've seen that had hardly anything superficial and stereotypical about it, and wasn't depressing to watch as a gay man.

Hats off to the guy who played the crazy brother: dark and scary, but the homoerotic tones and suppressed desires sound through his silence, creating a fascinating villain, again, something which the aforementioned other French-language gay thriller completely failed to do, managing only to be faintly embarrassing and ridiculous.

A young gay man from Montreal travels to rural Quebec to visit the family of his recently deceased partner and attend the funeral. The visit turns into a nightmare. The film is based on the play by Michel-Marc Bouchard who co-wrote the screenplay with director Xavier Dolan. Dolan also plays the main role.

Dolan uses powerful techniques to stir emotion in this bizarre thriller. He also gets great performances from the actors including himself.

The trouble is in trying to understand and empathize with the main character, Tom. He seems to have little or no survival instincts to take care of himself, sometimes even deliberately walking into further trouble.

This is made clear, maybe intentionally, in the second half of the film when Sarah, a friend from Montreal, enters the scene. Sarah at least shows the survival instincts clearly lacking in Tom. There are some hints as to why Tom stays in the dreadful situation but the inconsistencies in his actions cause too much confusion.

Dolan is a powerful artist with much promise at his young age. This was shown in "I Killed My Mother" and "Heartbeats". "Tom at the Farm" has potential but doesn't quite meet the level of the other two films. - dbamateurcritic.

This cinematic baby of director/writer/actor Xavier Dolan is a moderately successful suspense film that is prevented from being more successful by its desire to be strange and enigmatic rather than forthright about its intentions.

Dolan plays a young gay man who visits the family of his recently deceased lover to attend the funeral. There, he finds himself adored by the oblivious mother who didn't know her son was gay, and hated by the crazy, violent brother who hates that his sibling was gay and intends to keep that knowledge from his mother at all costs. This plays out mostly as you would expect, with an increasing sense of claustrophobic dread. Why Dolan's character doesn't just leave this potentially dangerous situation is adequately explained through various plot devices, some of them imposed on him by external circumstances, some of them arising from his own internalized motivations. Dolan gives a very good performance, but the actor who plays the abusive antagonist is poorly cast, not menacing or threatening enough to be convincing. And a late-act plot development involving a fake female love interest for the dead brother does more to derail the movie than heighten its suspense.

Still, those looking for an off-kilter watch will probably be satisfied. This movie reminded much in tone of last year's release "Strangers by the Lake," though that is a much better film than this one.

Grade: B+

To follow the chronic order, I decide to watch this film before Dolan's latest MOMMY (2014), which has just freshly arrived. TOM AT THE FARM is Canadian prodigy and Cannes darling Xavier Dolan's fourth film, adapted from Michel Marc Bouchard's play, this marks the first time he is not the sole writer for his works, it is also a veer of style for him, delves into the murky suspense and violence of a psychological thriller, and notably, in its highly strained chasing-in-the-forest incident near the coda, it conspicuously recalls another exceptional gay-themed thriller Alain Guiraudie's STRANGERS BY THE LAKE (2013, 8/10) of the same year, but these two films end with two completely contrasting options for our protagonists who both face irresistible sexual attraction from the sort who is too dangerous for their own good.

Sported as a perennially tacky curly blond, Dolan plays Tom, an urban advertisement editor who has just lost his boyfriend Guillaume in an accident. Driving en route to attend his funeral in a remote farm, Tom meets Guillaume's family members, his mother Agathe (Roy) and his brother Francis (Cardinal) who lives with her and whose existence has never been informed to Tom until now. On top of that, Agathe seems to be unwitting of Guillaume's sexual orientation, so Tom has to comfort her grievance by telling a white lie that Guillaume has a girlfriend named Sarah (Brochu), who in fact is just one of their common friends. Yet, Francis is the one who actually knows it all, his violent and homophobic behaviour towards Tom strikes a sadomasochistic thrill, which is not merely one-sided, as the film not-so- subtly implies Francis is a closeted homosexual himself. They both desperately or compulsively trace the resemblance or remnants of the deceased in each other, to the degree, Tom actually complies to act as a voluntary hostage on the farm and even enjoys the pastoral drudgery. One night Sarah's visit inopportunely provokes Agathe's deeply- buried agony, while apart from Francis' overcompensated interest in Sarah, Tom learns a horrible episode of his past from a bar owner, which overturns his perception of the tight corner where he is in. The second day, he decides to flee and turns his life back on track.

Here, Dolan again plays the Aspect Ratio gimmick, in the scenes where Tom is physically abused by Francis, it changes from the usual 1.85:1 to a more smothering letterbox; and if one is familiar with his narcissistic disposition, here he continues to wallow in close-ups, mostly on himself especially when Tom is anguish-ridden or being suffocated to barely catch a breath under Francis' masculine domination. While the entire film is coherently enveloped in an overcast dreariness, the close-knitted cast (both Roy and Brochu are from the original play) has done an amazing job in establishing the engaging tensions and occasionally a smack of warmth glistening. Roy and Cardinal are the MVPs, the former is offered a soul-pulverising flare-up while being consistently emotive during all her presence, and the latter beefs up his boorish machismo with very disarming appeal which superbly gilds an atmosphere of ambiguity in Francis' deadly mystique; on top of that the two together also builds up a detrimental mother-son relationship, which also wittily insinuates what has happened to the mother in the end, it is an innovative modus operandi to justify the plot-line without revealing everything in front of viewer's eyes.

As for our triple threat Dolan, with his Joker-alike makeup, he shows beyond doubt that apart from the ostentatious style bandwagon, he certainly is on his way to mature into a multi-faceted filmmaker who is able to tackle with the darkest corner of humanity and leaves his own trademark on it. A final nod to Dolan's cherrypick of songs, Rufus Wainwright's GOING TO A TOWN, appears in the ending credit, is an utterly poignant theme song for Tom's bumpy ride.