Laurence Anyways is an extraordinarily and an exhaustingly unique tale, dispersed over a decade and told in flashbacks, of physical and emotional metamorphosis. 

Dolan’s approximately three-hour film can simply be described as remarkable. While the story is centered around transsexuality, it’s Dolan’s remarkably perceptive sense on how a relationship between two people can grow, deteriorate, rebuild and crash over time, that makes Laurence Anyways relatable, significant, and universal.

Laurence Anyways flows naturally, stylistically speaking. Dolan succeeds at incorporating his unique visual peculiarities into the narrative. These unusual artistic choices, overused perhaps, superbly defined the film’s characters’ moments of vulnerability.

Melvil Poupaud masterfully embodied the persona of Laurence, with all its complicated evolution and internalized struggles. Suzanne Clément, initially considered to be a side main character, explosively conquered Laurence Anyways’ poignant dialog and delivered an outstanding performance worthy of admiration and appreciation.

Dolan’s ‘more is more’ aesthetic, the fabric patterns, the colors motifs, and the numerous and long slow-motion sequences alongside an extensive and an eclectic soundtrack aided in maintaining a dynamic and an active ambiance even when the film’s oversaturated runtime feels, infrequently, superfluous and preoccupied.

Laurence Anyways is a melodious motion picture where all of its similar elements come together fluidly and Dolan’s artistic and cultural touch accentuate the emotional honesty and brutality that is found in his vastly animated narrative.