Quebec actress-warbler Carole Laure turns to directing, considerably assisted by her artistic deviser, co-screenwriter, co-producer and d.p. Pascal Arnold, and the results are decidedly mixed. An odd subject, about a bereaved woman who seeks a son to mother, pic is never as emotionally gripping as it should be, smacking of contrivance and theatricality. Modest commercial results are to be expected from this small-scale would-be tearjerker.
Laure plays the eponymous Marie, whose husband and teenage son have recently been killed in a car crash. Comparisons with Krzysztof Kieslowski’s “Three Colors: Blue,” which begins with a similar premise, are as inevitable as they are damaging for this film. Unable to get over her loss, Marie — a partner in an upmarket dress shop in Montreal — takes an ad in the paper: “Mother who has lost a son seeks a son who has lost a mother.”
Four young males respond to her plea from the heart. Alex (Danny Gilmore) is a sexually ambivalent performance artist into S&M; he was orphaned at the age of 12 and craves a mother’s love.
Then there’s Martin (Felix Lajeunesse-Guy), a schoolboy about the age of her dead son. Martin seems to be a victim of domestic violence; his mother is gone and his alcoholic father obviously mistreats the boy, who exhibits scars and bruising. The shifty father charges Marie $150 per week for permission for Martin to live with her, and the boy makes a speedy recovery. Soon he’s showing interest in girls, and inviting them home.
The orphaned Victor (Daniel Desjardins) is vastly overweight and self-conscious about it. A computer geek, he never leaves the self-contained studio at the back of what was once his parents’ palatial home and now is occupied only by servants. Like Martin, he responds to Marie’s care.
Finally there’s Paul (Jean-Marc Barr), a much older man, who has serious sexual hangups; married to a wife he despises and father of two children he abuses, he likes to have Marie comb his hair and contrives to expose himself to her. He’s fiercely jealous of his other “siblings.”
Marie’s attempts to find a surrogate son through one of these four are indeed traumatic, especially when it comes to Paul and Alex, though she acquires a certain peace of mind by the end of the film.
The inherent improbability of the narrative prevents too much identification with the plight of a woman who seems to be inordinately foolish, and Laure’s big monologue near the film’s conclusion, which is supposed to be very touching, actually goes for little.
Barr and Gilmore are unable to make their off-the-wall characters very convincing, though in more sympathetic roles, Lajeunesse-Guy and, especially, Desjardins fare better. Laure has saddled herself with the role of an irritating and poorly motivated protagonist.
Pic evidently was shot on video, and the transfer to film is an unusually poor one. The print screened in Cannes had a predominately yellow tinge, which was unflattering for the actors and visually indigestible for the audience. Other credits are just passable.