Francois Ozone
François Oujong has been called "the most handsome director in the history of French cinema". His films, like his appearance, always emit an unavoidable glare.
He is a young generation of directors who have not made many bad films, representative works such as "Entering the House", "Franz", "Flower Appearance and Moon Appearance", "Eight Beautiful Pictures" and so on.
The description of him on Douban:
François Oujon's style is black, humorous, psychoanalytic, subversive, and the theme is mainly to explore desire and deviance. Some have likened him to Hitchcock or Chabrol's successor.
First, there is no doubt about the interest of the middle class
Born into a middle-class intellectual family, a perfect academic education, a solid career, this is Ozon.
What is the so-called "middle-class interest", since the material does not have to worry too much, there is no Jiangshan Society to worry about, of course, there is only a little bit of feelings left. The simple summary is "n year itch, no zuo no die". In his films, there is not a couple whose relationship isn't rotten to the root — like weeds, American beauties, hidden cameras, and of course Woody Allen.
However, it was not until he entered the house that Ozon began to use the term "middle class" directly and heavily. He also filmed the so-called civilian life, in the Ricky film that I found the most boring. What kind of civilian life is filmed, in addition to the nerves is to eat and drink at home, the factory drama that most likely reflects the identity of the worker is not a woman with a story and a hanzi eyebrow, smoking and talking, or the romanticism of the toilet mess - forcibly civilians, in fact, it is still middle-class fun.
Second, invincible and solid artistic accomplishment
His films are strongly literary. Not only in the writer identity of various protagonists (swimming pool - female writer of crime novels, entering the room - writing class teacher, under the sand - university literature professor, angel - romance novel writer), but also in their own super high literary and artistic accomplishment: they are screenwriters, and they are handy to literary elements (under the sand - Woolf's waves, flowers and moons - Rimbaud's poems, dry firewood - Heine's poems, entering the room - all kinds of wonderful reviews of contemporary art and literature are not addictive, simply teach you to write novels directly)
His work was heavily influenced by classical drama. In classical drama, the ghost is a very important role, because its existence suggests "reality" or not, and is an important distinction between drama and life in theater theory. Voltaire, the grandmaster of French theatre, defended the appearance of ghosts on the theatrical stage and mentioned that the revival of this classical tradition is commendable. Ghosts appear in "Eight Beauty Figures", which has a strong sense of stage; there are no real ghosts in "Entering the House", but the image of the teacher is forcefully inserted in the context of the novel. I don't think these are coincidences or whims.
The hue is saturated and the oil painting texture is. To give a few examples: the woman's supine posture, which he loves to shoot from his feet to his head, is simply a reproduction of the classic oil paintings, especially some of the oil paintings with the theme of the Virgin. The picture of the change of light caused by all the switches and lights is handled so beautifully before and after the change. The warm tone of the environment in the shadows, the blue of the highlight reflection, the lighting is so delicate. Sometimes I suspected he was using a video camera. It's really a solid foundation.
Musical taste is also good. Bangbang in a summer slip dress, Septembre under the sand, four pieces of music with a flower face and a moon. Douban's discussion about his films is often followed by people asking what music is. I'm not talking nonsense, he said in person when he was interviewed, "With a proper song you can save four pages of dialogue."
However, I think that solid artistic accomplishment and the sense of superiority that comes with it are also characteristics of European films.
The discussion of youth and sex trafficking in "Flowers and Moons"
The interweaving of words and desires in "Pool Love Murder"
Peeking into the black hole of human nature in "Entering the House"
There are handsome men and beautiful women in the film, and the lust that he is good at playing, has nothing to do with morality, has nothing to do with meaning, only about the heart.
However, Ou Rong, who has always been unusual, used a film to tell you that the black and white abstinence system can also be high-pressure.
It's -- "Franz."
Franz poster
Although there was no smoke of gunfire, the damage left by the war was no less than the blur of flesh and blood under the rain of bullets.
He used a "love triangle" to show people's cowardice and powerlessness in the face of war.
Movie "Franz"
In particular, the whole film is almost black and white, and the color is interspersed. It does not appear randomly, nor does it have a corresponding memory, it appears with the fluctuations of the character's emotions. Back to the story itself, it's a cruel love story: it starts with a lie, and it ends with a lie. Lying is to survive, to forget the past, to regain the belief of living, but under the trickery of fate, people are lamented.
François Oujon is a director I follow, a handsome French man, whose works are quite shocking and reasonable, and still in the category of acceptable to female audiences. In the early years of "Guts and Truth", it broke through the siege from the game of "Truth and Guts" that had been interpreted countless times, and filmed the horror atmosphere of teenagers who were full of curiosity and impulse to treat sex and finally be frightened by themselves. Ambiguity, danger, sex, and death should be several of the hallmarks of his films. "Blissful Death" is a vivid expression of these themes. Abandoning the appearance of strangeness, the meaning is quite bitter: a thought is sometimes quite fatal, and subjective cognition is often just an illusion. The short film "Summer Slip Dress" is just like the name, and it is still quite brisk. There are lively and cute bisexual boys, as well as the bang bang that is familiar to the literary and artistic youth in the future, predicting the fatalistic worldview.