Lana Del Rey
Last month, Lana Del Rey started teasing a new song called “Honeymoon” on her Instagram account. With its references to the streets of Los Angeles and its tragic lyrics about how loving her is unfashionable but Mr. Born To Lose does it anyway, “Honeymoon” was shaping up to be peak LDR.
Earlier this week, in her new Rolling Stone cover story, Madonna said something that resonated with women everywhere: “We live in a world where people like to pit women against each other. And this is why I love the idea of embracing other females who are doing what I’m doing.”
This is especially true if you’re a female performer of a certain status. Even Madonna atoned for her feud with Lady Gaga, telling RS, “The only time I ever criticized Lady Gaga was when I felt like she blatantly ripped off one of my songs [‘Express Yourself’/’Born This Way’]. It’s got nothing to do with ‘she’s taking my crown’ or ‘she’s in some space of mine.’”
[Note: There are some spoilers below. But also know that Mommy isn’t the kind of movie that can be “spoiled” with plot details.]
Xavier Dolan seems to love maudlin ’90s music; Heartbeats featured Sting’s “Every Breath You Take,” Laurence Anyways included Celine Dion’s “Pour que tu m’aimes encore” and Craig Armstrong’s “Let’s Go Out Tonight.” But the filmmaker, in interviews, has revealed himself to be entirely self-aware of his unbridled usage of equally unbridled tunes: “Music was the only voice of cinema for a very long time before we had sound; it’s organically linked to cinema itself. So I see no reason to restrain myself, thinking how much music to put in the film.” Yet his musical methodology — or lack thereof — never fully worked until now. None of Dolan’s previous films have relied on the rapture of ’90s sentimentalism more than, or as conceptually aptly as, his newest film, Mommy, which sees US release on January 23.