C.R.A.Z.Y.
Directed by:
Jean-Marc ValléeScreenplay:
Jean-Marc ValléeCinematography:
Pierre MignotCast:
Michel Côté, Marc-André Grondin, Émile Vallée, Pierre-Luc Brillant, Maxime Tremblay, Alex Gravel, Mariloup Wolfe, Mohamed Majd, Jean-Marc Vallée (more)Plots(1)
A middle-class teenage misfit living in '70s era Montreal dreams of abandoning his familiar hometown surroundings to seek a brighter future in director Jean-Marc Vallée's character-driven drama. A sexually-confused Christmas Day baby who likes to march to the beat of his own drummer, Zachary Beaulieu (Marc-André Grondin) nevertheless longs to live up to his old-fashioned father's (Michel Cote) decidedly more traditional expectations. As Zachary seeks solace in the sounds of Pink Floyd and David Bowie, his mother assures him that he's bound for greater things and testosterone-fueled siblings raise hell around the house. Despite feeling bound by his comparatively normal surroundings, the revelations provided by David Bowie's "Space Oddity" allows the disheartened Zachary the luxury of dreaming. (official distributor synopsis)
(more)Reviews (2)
There are bad movies that everyone knows, and there are excellent movies that escape people's attention. I stumbled upon C.R.A.Z.Y. by chance and didn't expect anything from this Canadian comedy. My surprise was even greater when I realized how pleasant and impressive this film is. There are plenty of stories about difficult adolescence, but this movie manages to be original, mixing humorous elements with tragic moments, and it feels completely realistic in all stages. It is a testimony to a certain time when men still played the role of family providers but gradually lost ground as emancipation took place. The perception of homosexuality was also changing, but the problem of drugs emerged, and all of this is ventilated in C.R.A.Z.Y. It is very well acted, but its biggest advantage is the clever script. A film that pleases and sticks in my memory. Overall impression: 90%.
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Emotional immersion without cheap blackmail through visual games à la Jean-Pierre Jeunet. Perhaps only the director's persistent attempt to shoot through reflections (in a mirror, glass or glasses) becomes tired and annoying towards the end.
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