After twelve years away, a writer returns to his hometown. As the afternoon unfolds, resentment rewrites the course of his homecoming. Long-simmering grievances erupt into bitter confrontations, fuelled by loneliness, doubt and a profound inability to listen to or love one another.
It’s Only the End of the World marks Nathalie Baye’s second collaboration with Xavier Dolan following Laurence Anyways (2012), in which she also portrays a conflicted matriarch. Here, Baye delivers a deeply affecting performance as a heartbroken mother while creating the emotional space for her fellow cast members to match her intensity. The result is a rich, unflinching portrait of familial grief, guilt and emotional paralysis; a fearless chamber piece whose combustible energy Baye helps bring vividly to life.
Winner of the Grand Prix at Festival de Cannes 2016.
The screening on 1st November will be preceded by the short Medea.
A mother and her son, whose relationship is marked by conflict, attend a performance of Cherubini’s Medea. A tentative dialogue begins to emerge between them, but the tension remains palpable.