Xavier Dolan is often referred to by numbers: 26 ( his age), 2009 ( first steps at Cannes with the selection of the film “J’ai tué ma mère” at the Directors’ Fortnight), 4, ( his debut in front of the camera), 25 ( the duration in days of the shooting of “Amours imaginaires”), or May 24, 2014, the day of his crowning achievement, the day he received ( ex- aequo with Jean Luc Godard’s “Adieu au langage”), the Jury Prize at Cannes for “Mommy”. A prestigious prize, eagerly awaited by many, it testifies to the recognition of the profession and of a certain type of cinema. An “auteur” cinema, associated with the idea of elitism. Not necessarily mainstream cinema: a charming French pretension?
Dolan doesn’t get bogged down by the numbers, the label of “young first” or the references, such as Almodovar or Godard, that pursue him. He loves Titanic, and dreams of great films that appeal to everyone. Cannes ok; but that’s not all. It’s just the beginning. He is currently completing a film starring Léa Seydoux, Marion Cotillard and Vincent Cassel. Scheduled for release in early 2016, “Juste la fin du monde” will precede his big American-cast project “The Life and Death of J.F Donovan”.
In the meantime, the Quebecois is making one of his dreams come true, stepping in front of photographer Alasdair McLellan’s lens to embody Louis Vuitton’s new line of leather goods: Ombré. In suit or vintage Teddy, Dolan’s elegance is unmistakable. Here, he holds the Keepall and the Voyages Bandoulière briefcase, emblematic of this collection.
Cinema and fashion: a couple, a whirlwind of mutual inspiration. On several occasions, and notably at the last Cannes Film Festival where he was a member of the jury, the public has been able to appreciate the care and style the director brings to clothes. But it’s in these films that his affection for the fashion industry is most apparent. With each film, Dolan reconstructs an entire universe. Creator-Egérie: a natural coalition.
In “Amours Imaginaires”, each character has his or her own style: Marie (Monika Chokri) sports a vintage look, inspired by fifties icons, while Francis ( Xavier Dolan) sails between urban and timeless classic.
In Laurence Anyways, Dolan recreates the late ’80s: big wool sweaters, embossed hair and glittery make-up.
For Tom à la ferme, it’s a sort of country-grunge look. A bit “Cobain”, during “Last days” (Gus Van Sant film). Peroxide-blond hair, more rock than Hitchcock.
I could also have mentioned Niels Schneider’s masculine lolita look, Anne Dorval’s style, alternately kitsch and more outrageous …
Let’s keep it a mystery, but in any case Xavier plays the role of “Louis” to perfection.
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