I'm not entirely sure why Lawrence, Anyways is set '10 years ago', in 1989; if not entirely for music's sake. Throughout this charming, lengthy Indie, nods to 90s rave culture practically whip you with their courage, pulsating with beaty, loaded goodness documenting Lawrence's coming-of-age: a gender re-assignment, which weighs the relationships in his life and spits them out like a try-before-you-buy food kiosk.

The most notable aficionado of Lawrence's mess is girlfriend Fred, (girlfriend Fred), whose lashes of frustration form the couple's intimate sexual contract. Lawrence is in the process of gender re-assignment, which understandably punctuates Fred's irrational outbursts, and expectedly, this chemistry colours the best moments in the movie.

As Lawrence's buying of wigs and make-up detail the relationship's supposed irregularities, charming moments of downtime often offer a vision of daily charms in-fitting with a 'regular' couple. Amongst this plotline, Lawrence, Anyways uses both ecstatic and archaic musical synthetics to narrate the bipolar realities of strife.

Visage's 'Fade To Grey' waves the flag for the sinister realms of this bipolarity. As Fred, Susanne Plechet, parties the night away at a ball; fashionistas and well-to-do society people mooch about in slow-mo-hell; a grimy depiction of her 'normality' away from Lawrence. The scene displays Fred's distraction from Lawrence and as synthetic beats pummel she succumbs to another man's affection. The environment by which the ball is staged is super stylish, perhaps a dream, a yearning for a life laden with aesthetics but lined with the menace forever associated with this kind of lewd escapism.

Director Xavier Dolan's bashes at high society are frequent and often intertwined with Fred's grappling with Lawrence's situation. Later, at Fred's, Depeche Mode's 'Enjoy The Silence' is a stirring illustration of the comings and goings of conventional types on the house party circuit; the wicked graft of the normal crowd effortlessly drowning in suburbia. The track makes a mockery of the small talk associated with such events, and highlights the obvious pressures of being talked about.

Between such anti-social-graces, silences are used sparingly and with pointedness as realised as any on screen violence. The film's most memorable scene lays Lawrence bare in his work environment, a school, post-transformation.

In drag, Lawrence faces his class, which earns a 46-second-whack of still-camera, filmic silence, which a student eventually breaks, posing a nonchalant question about some subject matter or other, ignoring this visual switch-up entirely. Blissful, youthful acceptance welcomes Headman's Moisture (Club Mix), a 90s Bass sensation, soothing away any pains of difference.

There's plenty more to get through here. Some surrealist 70s styles are boasted, cascading water pummels suburban living spaces in scenes that seem clearly influenced by A Clockwork Orange and The Shining. There's even a touch of Beethoven mixed with some ultra-violent TV smashing.

Kubrick fans needn't fret: it all feels responsive.

Lawrence, Anyways is a sobering, decadent picture. Its subject, autumnal change, means Lawrence and Fred's final meeting is gaspingly ornate, as both depart our screens occupied by wind-changing progression rooted in a newfound maturity.

Game changing bass synthetics lashed with crescendos and percussive sounds project senses of 90s experimentalism, which throughout the decade combined happily with club-culture and reached an international audience seeking solace in pounding, thumping beats.

Director Xavier Dolan likens these beats to the quickening pulse of a beating heart in the wake of expression.