Xavier Dolan‘s eighth feature film Matthias et Maxime follows the pair of titular life long friends left confused about life’s challenges, their sexualities and feelings for one another after being tricked into sharing a kiss in a friend’s bratty sisters’ experimental student film. This said kiss results in brewings tensions in their lives as well as their inner circles of family and friends. However, this film is not merely about homosexual love. When asked about whether Matthias et Maxime is the gay version of a previous film, Dolan responded “We never talk about heterosexual films. ‘Oh, I saw this great heterosexual love story.’”.
Matthias et Maxime strives to normalise the gay love story in media as homosexuality is slowly becoming normalised in everyday life. As Dolan himself explained at a conference following the film’s Cannes premiere, “In this group, homosexuality is clearly not a problem for anyone, and no one seems shocked by the existence of that kiss. The only characters that are troubled by it are the lead characters, because how they see themselves (is) threatened by that kiss.”
More Than Just a Homosexual Awakening
Returning to Cannes for the first time since 2016, Matthias et Maxime ticks Dolan’s usual boxes including slang-filled dialogue and a number of shouting matches backed by a synth-heavy soundtrack. The film is much quieter than Dolan’s previous fairs and all the better for it, instead opting to lend a quieter focus to the realisation of a long-repressed love.
The actual kiss that reveals these feelings is not shown to the audience. Instead, Dolan (deftly) chooses to cut away and focus on its consequences and the aftermath. Whilst friends and family laugh off the kiss and point out its artistic merits and “hotness”, it only truly leaves an impact on the two confused leads. Matthias and Maxime may be the lead roles of a romance, yet the two rarely spend any quiet moments together. Instead, their grief and longing are shown through cliché longing glances and convenient soundtrack choices.
Both Dolan and Freitas share great acting talents yet their lack of shared screen time leaves the believability of their chemistry sometimes lacking. The true heart of the film is instead found in their individual struggles which occasionally fall trap to overly indulgent theatrics.
To label Matthias et Maxime as a tale of sexual awakening would be derogative as the story is truly about the men coming into their own, and the characters’ sexualities never truly lie dormant. It’s revealed in conversation that the two shared a kiss years earlier, a moment that Matthias claims to not remember. This paired with his denial of frequent grammar correction clearly reveal his possession of selective memory. A combination of toxic masculinity, repression and denial leave Matthias unable to reveal his feelings towards Maxime even to himself.
It is only following a heated debate surrounding the rules of charades that his frustration boils to the surface and causes his emotions to erupt in a passionate kiss. In the standout moment of the film, their surroundings are quiet but their actions are anything but. The pair thirstily grasp at each other as the camera alternatively lingers over their hands and voyeuristically observes through a window. It is in quiet moments like this that Matthias et Maxime truly shines.
Turning Thirtysomething
Both Matthias and Maxime are lifelong friends yet as most lifelong friends do stand at very different positions in their lives. They are both confused and young, yet no longer young adults. They are reaching the age of career conversations, marriage and promotions and their second kiss (the first in the film) is merely the catalyst for them truly realising these anxieties. Matthias is seemingly unsatisfied in his apparently happy relationship and is offered a promotion opportunity that leaves him visibly uncomfortable. Max aches to leave behind his abusive mother and create a new life in Australia.
Matthias’ refusal to give Max the reference he requires to leave reveals his feelings and leaves Matthias somewhat insufferable despite Dolan claiming that he wished both leads to be likeable. Instead, Max is often seen as the one suffering at the hands of Matthias’ denial. This along with his rejection of his promotion are meant to symbolise Matthias’ struggle with his sexuality and coming of age yet instead fall flat. Many further attempts at fleshing out the characters suffer the same fate.
A struggle In Pacing
Although there are many moments that attempt to flesh out the men and the story itself, the film begins to lose momentum in the moments featuring both men’s families. As is standard with Dolan’s filmography, Matthias et Maxime features numerous incidences of shouting and crying, the overemotional displays evidence of Dolan’s own youth and passion.
Max’s mother’s gruff nature, as well as her emotional and verbal abuse, allow an insight into Max’s quiet nature yet are never awarded any true payoff. We do not see any instance of her disapproving of Max or his lifestyle. These moments and others cause the film to lag in its second act, which is plagued by numerous moments that feel ripe to close the film. This issue isn’t truly resolved until the final ten minutes in which we find out about Matthias never giving Max the reference that he required before moving to Australia. It is during this scene that Dolan’s excellent acting comes to the forefront, the culmination of his anxieties and struggling through English painful to watch.
Matthias Et Maxime: False Closure
The closing moments of the Matthias et Maxime leave something to be desired. Underscored by a fantastic musical choice, Maxime approaches his window to see Matthias waiting for him outside in confirmation of his feelings. This moment feels inorganic and rushed, no way near as tender and intimate as all the events preceding it and feels like it has little to say. Although the inclusion of the beautiful “Song for Zula” by Phosphorescent elevates the scene, the rushed reunion of the two leads feels like an easy bookend to a complicated tale.
Whilst Matthias et Maxime is about the two men realising a romantic relationship, they begin and end the film primarily as friends. Despite some faults in pacing, Dolan and Freitas‘ dynamic performances as well as some great writing and direction from the former leave audiences feeling vulnerable in a way that many films are able to do so. Dolan and the film’s characters say goodbye to their twenties in a film that questions the confusion of entering your thirtysomethings.
What are your favourite explorations of LGBT relationships in the film? Let us know in the comments!
Matthias et Maxime premiered on May 22nd at the 92nd Cannes Film Festival.
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