
Xavier Dolan
Tom

“What you don't know will hurt you.”
A young man travels to an isolated farm for his lover's funeral where he's quickly drawn into a twisted, sexually charged game by his lover's aggressive brother.
"Tom" (Xavier Dolan) arrives at a remote farmhouse and lets himself in. Shortly afterwards, "Agathe" (Lise Roy) arrives home to welcome this best friend of her son whose funeral she has just attended and that he has just missed. What she doesn't know is that he was his lover, but her other son "Francis" (Pierre-Yves Cardinal) is in on their sordid little secret and makes no bones about his disgust in the middle of the night. "Agathe" likes having her guest around for a while, though, and with plenty to do around their 45-cow farm, "Tom" starts to learn some of the ropes whilst "Francis" plays an increasingly violent and manipulative game. Initially that has quite an intimidating effect, but after a while it becomes clearer to "Tom" (and to us) that perhaps "Francis" isn't quite what he purports to be. When "Sarah" (Evelyne Brochu) arrives in the guise of her late son's fictitious girlfriend, events become even more toxically complex and things between the two young men seem set to heading for quite a dramatic conclusion. Despite his dyed blonde hair, did anyone else thing Dolan looked like Robert Downey Jnr here? Either way, he turns in one of his best efforts as a man dealing with his own trauma and demons as well as with the aggression of a Cardinal who combines his angry odiousness with a degree of vulnerability in a convincing fashion that dominates proceedings as the psychological see-sawing between the pair becomes tinged with a vaguely and thereby quite potent homo-eroticism. It's a bleak assessment of humanity, but one I found perversely engaging and it shows well just how many different manifestations grief can take.
Read full review"A suffocating, stylish queer thriller powered by gripping performances, though its slow, ambiguous storytelling leaves some viewers cold."
The film draws strong praise for its tense, claustrophobic mood, striking visuals, and the charged dynamic between Tom, Francis, and the mother, with several viewers calling it a must-see and highlighting how anxious and unsettled it made them feel. Performances by Xavier Dolan, Pierre-Yves Cardinal, and Lise Roy, along with the string-heavy score and standout needle drops, are singled out as major strengths. At the same time, others find the pacing sluggish, the character work too thin beyond the central trio, and the narrative and ending more frustrating than satisfying.
Bleached hair, cow shit, and psychosexual mind games weren’t the only chaotic elements orbiting Tom at the Farm. While the film itself stayed relatively scandal-free on set, its enfant terrible creator, Xavier Dolan, was busy turning the off-screen narrative into its own thriller. Let’s hoe this field of gossip.
When The Hollywood Reporter’s David Rooney panned Tom at the Farm out of Venice, calling it a sinister thriller wrapped in “auteurial self-adulation,” Dolan did not take it lying down. He fired off a now-infamous tweet at the outlet’s movie account: “You can kiss my narcissistic ass.” The tweet was later deleted, but not before critics, academics and fans screengrabbed it and lovingly filed it under “reasons we stan chaotic directors.” The Montreal Gazette later summarized the clash as Dolan “hitting back” at THR over the rough review
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Around the same time Tom at the Farm was in post-production, Dolan was already at the center of a firestorm over his music video for Indochine’s “College Boy.” The ultra-graphic anti-bullying clip — featuring a teen crucified by classmates — sparked outrage in France, with talk of censorship and bans for its violent imagery . The video had journalists calling him provocative and “under fire,” which only amplified the polarizing buzz when Tom at the Farm arrived.
In a move that feels extremely “Tom making bad choices,” Dolan reportedly didn’t have a driver’s license while shooting those tense car scenes. Crew members had to hide in the passenger seat, back seat, even the trunk during driving shots — and were genuinely scared every time he got behind the wheel. That nervous energy you feel in the car sequences? Not all acting.
That blue pen Tom uses to write his funeral eulogy? Not just a random prop. Dolan personally loves that exact, now-discontinued model so much he ordered an industrial quantity from the manufacturer so he’d never run out. He insists on using that one type of blue pen, period. Psychosexual thriller meets stationery kink. [6]
The gruff bar owner? That’s Manuel Tadros — Dolan’s real-life father. Casting your dad as the guy serving booze while your character spirals into rural queer trauma is a very specific brand of nepotism. [6]
Lise Roy (terrifying mom Agathe) and Evelyne Brochu (fake girlfriend Sarah) were both in the original stage production of Tom à la ferme. Roy’s performance on stage impressed Dolan so much he essentially promised her the movie role after seeing her in the play — and delivered. [6]
Dolan originally wanted Tom at the Farm to be nearly music-free — all eerie silence, all the time. Then he got into the edit and did a total 180, admitting he ended up “spraying the entire picture with music, everywhere” until every scene had score.
To push the film’s thriller vibe, Dolan brought in heavyweight composer Gabriel Yared (yes, the Oscar-winning composer of The English Patient). It was the first time he hired a “real” composer instead of DIY-ing it, and he later gushed that hearing Yared’s tracks made him finally “feel like a true director.” [7] Very “I’m just a boy, standing in front of an Academy Award winner, asking him to score my gay farm thriller.”
On Reddit’s film circles and Tumblr’s GIF-heavy fandom side, viewers have obsessively dissected Tom and Francis’s relationship: is Tom broken down and brainwashed, or did he fall for his abuser? Long threads pick apart specific scenes — the underpass choking, the dancing, the barn confrontations — to argue that Tom is emotionally “replaced” as both lover and brother, and that the ending implies a perverse attachment rather than escape .
Tumblr tags are full of looping GIFs of Francis pinning Tom to walls, whispered lines like “You smell like him,” and breathless captions about the homoerotic/homophobic tension. Some fan blogs practically turned the film into an aesthetic moodboard of bruises, cornfields, and repressed desire, fueling a mini cult status years after release .
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.
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