Xavier Dolan’s Quebec-set thriller Tom at the Farm only played for a week at the IFI but it deserves to be seen by large audiences.
Dolan’s film, adapted from Michel Marc Bouchard’s play, maintains ambiguity masterfully. Tom (Dolan) is bullied by his dead lover’s brother Francis (Pierre-Yves Cardinal), into keeping Guillaume’s sexuality hidden from his mother Agathe (Lise Roy), but Guillaume’s elision of Francis’ existence, and the true nature of Francis’ need for Tom to stay at the farm, remain murky: when Francis menaces two men who insult him, we assume a motive which is later expertly cast into doubt. Nothing is obvious here.
Two to Tango
The moment when Francis takes Tom to a shed in the family farm that is revealed to be a nearly professional standard dance-floor is a startling character revelation. But when Francis then shows Tom how he used to practice as a teenager with his deceased brother Guillaume, by whirling Tom around to music memorably used in a Nip/Tuck finale, and Tom responds by assuming his dead lover Guillame’s place and tangoing perfectly makes this scene deliriously transgressive.
Bright lights, Dark story
When Tom goes for a drink, to kill time while waiting for a bus to roll in, it’s hard not to be struck by the lurid colour scheme his very green jacket makes against the very yellow bar he sits at. As the barman starts to tell him exactly what Francis did to be so shunned by the local community, the lurid colours seem ever brighter as an almost Hitchcockian contrast against to the ever-darkening monologue.
Letterbox ex machina
At first I thought I’d been half-asleep and had somehow missed the entire film being in letter-box format when the screen seemed to close in as Francis choked Tom in the cornfield after Tom’s early futile escape attempt. Then the film reverted to normal ratio… And, sure enough, now on the lookout for it I noticed the boldly expressionist format shift happen twice more: when Tom chokes Francis later, and when Francis makes another bolt for freedom.
Freudian Slips and Chokeholds
Freud you imagine would have a field-day with this movie… The macho swaggering farmer Francis seems to represent the powerful eruption of the suppressed sexual instincts. Except Francis also seems to equally represent a powerful rage against just those instincts, while Tom in his relationship with Francis veers somewhere beyond Stockholm Syndrome and the embodiment of Freud’s death-drive thanatos being intimately related to the sex-drive libido in his acceptance of beatings and positive pleasure in choking.