Frantz

Pretty photography and talented actors. Ozon's best work.

François Ozon, what a charlatan...

just as cinematography hints at how manet's painting brings a false existential reconciliation, texts such as frantz serve to the same effect. this is beautifully shot film that constantly puts its formal touches in dialogue with the text: even the modern photography where actors looks like as if stickers on the screen brings depth to the conversation from the lacking quality of modern black & white imagery.

Viewed September 19, 2017.

Besides the mostly unnecessary formal flourishes, this is a beautifully directed, thought provoking film on the profound wounds hard to heal in post-war, as well as a love letter to the human will to survive.

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15.12.2016, Buyulu Fener Kizilay

Ağır ağır çıkacaksın bu merdivenlerden

if I was Frantz & there was an afterlife I'd be the angriest motherfucking dead German pacifist you HAVE EVER SEEN

15. Filmekimi - City's.

A romance movie hidden inside an early 20th century drama, it works thanks to the capable leads, although it feels unfinished at times.

09.09.2017 @Açıkhava,BomontiAda &Demet

انگار فیلم گفتگوی درونی اروپا بود مشغول به خودستایی

I am hesitant whether to describe this as an anti-war fairytale or a brainy semi-political melodrama in the vein of Sirk. It's flagrantly artificial, but well thought-out, logical and undeniably moving.

As usually with Ozon the movie feels fake, but is totally engrossing. It's not a work of art but a quality cinematic product.

While the details are quite stunning (like one of Hesse's small town descriptions brought to the screen) there is a sense of an outdated fetish for the classic novel which has already bored intellectuals in the 60s. And yet the sensible intensity with which Ozon carries the pain for fallen soldiers is so strong that not even a metaphoric final affirmation of (gay) life can quite negate the luscious melancholy.

savaşın her iki tarafada verdiği acıyı ve hüznü anlatan, ve en önemlisi de istediğimiz şeylerin bir şekilde olmaması ama buna rağmen mutluluk maskelerini takmamızı anlatan, siyah beyaz ağırlıklı gitse de mutlu günlerin renkli gösterildiği güzel bir film.

Not quite Lubitsch, but Broken Lullaby (1932) was never very Lubitsch to begin with. Nice remake, but I do prefer the original for it's more open emotional approach.

Dances around some very difficult topics without settling on one answer; how do you forgive the unforgiveable, how can you survive without doing so? Hatred can build bridges, but guilt and grief tend to put up walls, no matter how noble the intentions.

I haven't really been paying attention to director Ozon for a while, so this caught me by surprise. It's not as edgy as his early films or disposable as his latter pastiches, but a very skillful period piece that keeps you wondering where it's heading. It's part mystery, drama and romance with a sad undercurrent running through it that also seems relevant right now. The leads are very good and their faces that suit the exquisite (mostly) B/W photography. The music is beautiful and used wisely.