By Mónica Delgado

Again, a new film by Xavier Dolan confirms the unexplainable side of Cannes. Shot in 35mm, Mathias et Maxime is an example of a film without a course, despite the usual motifs of the Dolan trademark, which continue to give him the fame of enfant terrible (even given his current age): hysteria in the family unit, women in constant ebullition, or romantic stories of homosexuality. A sweetened, insufferable gay love story.