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Ozon

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I've only seen two of Ozon's films. The last two, actually -- 5x2 and Le Temps qui reste. My general impression is that that quality of his films would improve considerably if he would allow them to gestate a bit longer. He works too fast, I think, and his ideas suffer for it. Neither of those films, for what it's worth, seemed at all interested in toying with our expectations, and certainly not in any sadistic way. The former is a Scenes of a Marriage-style chamber drama, the latter is about the last months in the life of a young man.

I wrote a bit about Le Temps qui reste after TIFF, and the more I thought about it, the more frustrated I became by the film's weaknesses. There are some really interesting ideas there, ideas that I connected with personally and that I don't recall being explored in just that way before, but Ozon seems to lack either the patience or the insight necessary to really unearth the consequences of his ideas. As a result, the characters, I think, lose a bit of their humanity. They become a bit two-dimenstional.

The much shorter answer is: I will probably see every new Ozon film, with the expectation that they'll be ambitious and formally-interesting and that they'll contain the kernals of good ideas, but that they'll finally come up a bit short. I don't feel any desire to track down his past work, though several like-minded friends have told me I'd probably enjoy Under the Sand.

I think Leary caught 5x2 recently. Hopefully he'll chime in.

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Under the Sand is the best of the three I've seen. I thought it was fascinating. And Rampling was great.

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Yeah Under the Sun and Swimming Pool are pretty good, but don't watch Sitcom, it's like a mix of family melodrama with the monster movie

And I kinda like with the adaptation of Fassbinder's Water Drops on Burning Rock

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I saw Sitcom (1998) at a film festival many moons ago, and yeah, it was messed up.

My favorite film of his so far -- as much for its eroticism as its psychological cruelty -- might be Water Drops on Burning Rocks (2000; my review). It's messed up too, of course.

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Underwhelmed by Under the Sand, underwhelmed by Rampling, underwhelmed by Ozon's reported disdain for the nouvelle vogue.

But I do like... uh... rainbows.

(Edit: I'm a little too negative. Under the Sand was alright, but it was built up way too high by pretty much everyone I read talking about it before seeing it. Rampling on the other hand... I just don't get it.)

Edited by theoddone33

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I did just comment on 5x2, rather negatively, on Image Facts. I have seen a great deal of his films, and among his early stuff there are a few films that hint at a filmmaking prowess. See the Sea is quiet, very personal, and haunting, probably his best before Under The Sand. I don't really care for his genre bending stuff, Sitcom, 8 femmes, Les amants criminels, and Water Drops on Burning Rocks are all steeped in a sexual angst that I don't identify with and am not interested in seeing. The last one in that list is actually a Fassbinder play. It was so striking to finally see him work with Fassbinder material because much of his previous work is already so evocative of Fassbinder and his sex-and-gender focused storytelling. I just don't care for this sort of stuff, Ozon seems to get stuck in a rut that has already been well travelled by others.

Edited by M. Leary

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Ozon is now officially boring in the same way someone like Lindsay Lohan is boring. Too much meta-drama.

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I feel out of the loop - what's the meta-drama surrounding Ozon?  In terms of his films, I very much liked In the House, in terms of its suspense and clear, affectionate homage to Rear Window.  And I'm looking forward to going back and checking out Potiche, based on its cast and having seen a good review or two.

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I enjoyed both of Ozon's last two films a great deal. I recently revisited In the House to see if maybe I just liked it because its lightness/quirkiness stood out in comparison to typical TIFF (2012) fare, but I liked it second time around. Young & Beautiful doesn't exactly break new ground thematically, but it provoked thought and I appreciated it for what it was. 

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I'll just say that at this early point in the year, Frantz is my film to beat. The playing around between B&W and color was effective. I see why this won Cesar for Cinematography. The story is really well done and brings us questions of truth and lies in a wonderful way.

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Six months out, I don't recall a lot of specifics, but I liked Frantz quite a bit when I saw it at TIFF last year.  

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