DALLAS BUYERS CLUB plays TIFF 2013

Whenever an indie director comes around, especially one with a certain rhythm and flare in their films, the question becomes whether they can likewise work within the commercial film arena. Think David Lynch and DUNE for example. One wonders such things about Jean-Marc Vallée; after all the subtle beauty of C.R.A.Z.Y and CAFE DE FLORE was nowhere to be found in THE YOUNG VICTORIA. By the director’s own admission, “Anybody could have made that film”.

However, where Vallée is concerned, the question might have been answered with DALLAS BUYERS CLUB, which had its world premiere at TIFF this weekend.

Set in 1985, The film stars Matthew McConaughey as Ron Woodroof, a Texan good ol’ boy who likes to drink, gamble, and fuck. After a workplace accident, Ron discovers that he has contracted HIV. Not only does this send Ron for a spin (since in the early 80’s, AIDS was still only seen as “The Gay Plague”), but it ostracizes him from all his friends and co-workers. His diagnosis is that he has 30 days to live, but when he finally gets his shit together, Ron decides to seek a viable treatment. He finally finds it in Mexico, but ever the opportunist, Ron sees the chance to make a lot of money getting other HIV and AIDS patients in on the action.

The film is another stone on the wonderful path that Matthew McConaughey has been walking lately. Here gaunt and skinny as a rail, he plays Ron with great energy, tragedy, and humour. He’s a man whose world view is changed; both in terms of what’s important, and what people are worth on the inside. The root of his change isn’t noble – it’s monetary – but it leads to something far more interesting than an epiphany of conscience.

Meanwhile, Jared Leto brings the film a great deal of life as Rayon the transvestite. He has a playful chemistry with McConaughey, and knows the difference bewteen character and camp. Both men bring a great deal of nuance to the on-screen relationship, with Leto giving the film a much-needed dose of humour and mercy.

Back to Vallée, this film still stands apart from C.R.A.Z.Y. and CAFE DE FLORE, but this time out, his spin on the ball is much clearer. He brings a very human touch to what could be a stereotypical bio-pic. He applies the right attitude and rock & roll sensibility to the film, elevating it above a shoulder-check at a sad moment in recent history. He knows when to stick to the script, and when to add a flourish or two, finding the sweet spot between fact and truth.

The bounce and humour that the film puts forth works remarkably around (yet another) standout performance by McConaughey. It’s amazing to think that in the last two years, he has become an actor whose work I consider must-see…certainly I wasn’t thinking this way back in the days of SAHARA.