The Crime Is Mine draws on the same giddily rules-trampling pre-war mood as Chicago.
François Ozon’s film is a classically humanist illustration of a percolating controversy.
François Ozon’s paean to nostalgia wraps tragedy and obsession in a whimsical bow.
Throughout, François Ozon assiduously avoids sensationalism, compiling the story with an almost journalistic sobriety.
Ozon discusses finding fresh ways to approach his favorite genre.
François Ozon has a palpable reverence for sleazy escapism, and that’s what makes Double Lover worthwhile.
The pacing is so funereal that it squelches the possibility of heat or conflict arising between the characters.
Director François Ozon is never willing to fully engage with the ridiculousness of his material, resulting in an uneasy mix of wry distance and unearned emotion.
High Society feels more genuine when it approaches the ethos of François Ozon’s underrated Young and Beautiful.
He admits that Isabelle was a mystery to him—one he constantly tried to crack while making Young and Beautiful.
The film’s increasingly unnerving story mostly unfolds with minimal flair, intensely focused as it is on its steely and enigmatic protagonist.
Many reviews have pointed out that 42 is a very conventional screen biography of Jackie Robinson. It is.
It’s buoyant and titillates, striking that distinctly Ozonian balance between the beautiful and the sinister, but it doesn’t resonate.
Some of the films in competition attempted to remind the cushioned critics of reality.
So soon after Catherine Deneuve and Gérard Depardieu’s sublime work in Changing Times, François Ozon’s froth looks especially trivial.
Potiche finds François Ozon reverting to his campy 8 Women ways.
Films like Hideaway reaffirm how much most movies withhold from us.
Stars drop in and out with great frequency at the Abu Dhabi Film Festival.
François Ozon’s latest is more like Pastiche.
Isabelle Carré’s cool, calm star turn keeps Hideaway anchored in moment-to-moment reality.