It's Only the End of the World (French: Juste la fin du monde) is a 2016 drama film written, directed and edited by Xavier Dolan.

The film is based on the 1990 play by Jean-Luc Lagarce and stars Gaspard Ulliel, Nathalie Baye, Marion Cotillard, Léa Seydoux, and Vincent Cassel.

The small core of actors were selected against typecasting, with Ulliel and Cotillard challenged by the awkwardness in dialogue inherent in Lagarce's work.

In a place identified only as "Somewhere," Louis, a 34-year-old playwright dealing with a terminal illness, takes a short flight to his home to reunite with his family, whom he has not seen in 12 years.

Louis talks on the telephone to someone and says that he plans to tell his family about his impending death and then leave, and he expresses uncertainty as to how they will react.

Martine also lectures Louis about taking responsibility in the family and says that his status, success, and courage give him some authority.

Canadian director Xavier Dolan said that when he originally read Jean-Luc Lagarce's play Juste la fin du monde, he felt "lost," citing its style and the aggressive nature of the characters.

He later reread it and said, "One day, I don't know what it was, I pulled it off my shelf and suddenly understood and appreciated this weird and verbose writing style.

Dolan described the extensive work required to adapt the stage play for film: I tried to keep the idiosyncrasies and the singularity of Lagarce's vernacular as much as I could...

[7] Plans for Dolan to direct a film, titled Juste la fin du monde, with Ulliel, Baye, Cotillard, Léa Seydoux and Vincent Cassel starring, were announced in April 2015.

[8] Through support from Telefilm Canada, the film was produced by Sons of Manual's Nancy Grant and Dolan and MK2 Productions's Nathanaël Karmitz along with Sylvain Corbeil.

[10] Baye took the role of Martine, citing Dolan's typical portrayal of mother figures in his films, which she regarded as remarkable.

In the bungalow, the crew set up in the basement, with the Mexican director Guillermo del Toro inspecting the equipment.

[36][37] The Hollywood Reporter called it "a cold and deeply unsatisfying" film[38] and Variety dubbed it "a frequently excruciating dramatic experience".

[39] Despite this, the film received positive reviews from critics, including The Guardian calling it a "brilliant, stylised and hallucinatory evocation of family dysfunction".

[40] Peter Howell of the Toronto Star wrote the film "deserves more applause than boos" and commended Dolan on his calm response to negative reviews.

[42] In Canada, Marc-André Lussier [fr] of La Presse gave the film three and a half stars, commending Gaspard Ulliel for giving one of his best performances and cinematographer André Turpin for superb visuals.

[43] T'cha Dunlevy of the Montreal Gazette awarded it four stars, praising Turpin and "Dolan's daring cinematic approach to the subject matter", noting the number of close-ups.

[45] In France, Isabelle Regnier wrote in Le Monde that the film far exceeded low expectations, and was one of Dolan's strongest works.

[55] The announcement of the awards drew boos from the press,[36] with Dolan emotionally quoting French poet Anatole France in saying, "I prefer the madness of passion to the wisdom of indifference".

[18][52] Canadian Prime Minister Justin Trudeau congratulated Dolan on Twitter, writing "You’ve made us proud again, Xavier".