Cat and mouse games are straightforward: cat chases mouse, cat catches mouse, repeat. But when you can’t tell who’s the mouse and who’s the cat, the game turns into something darker. In Charles Binamé’s new Canadian film, Elephant Song, Xavier Dolan (Mommy, which also debuted at TIFF14 this year) takes turns as both hunter and hunted, and in the process, delivers one of TIFF’s finest performances.

Only 25 years old and already a filmmaking prodigy, Dolan leaves his director’s chair for this starring role as Michael, an intelligent but disturbed patient at a psychiatric hospital. When Michael’s therapist disappears, another doctor (Bruce Greenwood) is brought in to get answers. But Michael is no pushover, and soon has the doctor and the ward’s head nurse (Catherine Keener) running circles for his amusement. As a power struggle unfolds, the lines between Michael’s lies and the truth begin to blur.

Without question, Dolan steals the show, devouring every scene with an aplomb well beyond his years. The ease in which he shifts from weakness to strength is stunning to watch, making every scene unpredictable and even a little frightening. Is Michael a cold-blooded killer? Is he insane? Or is he just a liar? All seem possible here.

Montreal director Charles Binamé supports Dolan with the perfect balance of sympathy and scorn. Shallow focus and close framing bring intimacy to the slips in Michael’s façade. Likewise, wide shots give his lies a grandiose, theatre-like stage. Opposite Dolan, Greenwood and Keener deliver solid performances, with Keener in particular showing real tenderness in her scenes with Michael. There’s heart here, and it’s lovely to watch.

Elephant Song is Canadian film at its best. And while he might be a Cannes Jury Prize-winning filmmaker, it’s this performance that will make Xavier Dolan a Hollywood star.

Nimy Leshinski