François Ozon is nothing if not a diverse filmmaker. There is no singular film that can be considered Ozon’s style, (aside from favouring twisty narratives) yet he is a masterful auteur. It’s as if Ozon thrives on the challenge of uncharted territory and here creates a sumptuous period piece in German.
Frantz is primarily set in a small German town, where a young woman named Anna (Paula Beer) quietly mourns her late fiancé, who died on the battlefield. Paula spends most of her time fending off advances from another local man and visiting Frantz’s grave. It’s here that she comes across the mysterious Adrien (Pierre Niney), who claims to be Frantz’s longtime friend from Paris, though neither Anna nor Frantz’s parents know of him. Initially doubtful, Frantz’s relatives eventually accept Adrien and develop a close relationship.
Ozon’s Frantz is a film that is so astonishingly gorgeous and beautifully written, where the truths and lies are inextricably twisted together, so that every presumption we make is quickly discredited. The sheer narrative sophistication of Ozon and the skill of Paula Beer make it thrilling to watch her sullen character finally take flight. His effective use of both black and white and colour film enhance the tale.
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