CRITICAL – Crossed by flashes of humor, humor and twists of fate, François Ozon’s new film, which looks at euthanasia, looks like life.
Sophie Marceau is seized in the corner of a door, sitting at her desk, in front of her computer. You can feel her focused. As soon as his cell phone rings, everything speeds up: “Where are you? I am coming…” Sometimes life turns on a simple call. In a rush, she goes down the stairs, but the steps are blurry. She goes to the emergency room where her father, André Bernheim, has just had a stroke. In a few precise, controlled shots, François Ozon captures his audience. Far from some of his previous films (Eight Women, Swimming Pool, Ricky…) Where a kitsch aesthetic is readily adorned with a Hitchcockian staging, the director here obliges himself to serve Emmanuel Bernheim’s book. Without affèterie. Ozon pays attention to details. The director ofA summer 85 is based on the sobriety of the dialogues. He stages with simplicity a chronicle, that of the programmed death of André Bernheim. At the last Cannes Film Festival, his film shone brightly.
Sophie Marceau, who plays an Emmanuèle Bernheim as strong as she is fragile, goes through all stages. From denial to grief, through disarray to support towards the inevitable. With her sister Pascale (discreet and sensitive Geraldine Pailhas), they face an intractable, egocentric, and yet so endearing patriarch, embodied with great depth by André Dussollier (who could win a Caesar). Mutic, depressive and fleeing, his wife (Charlotte Rampling), suffering from Parkinson’s, refuses the fight. For her, it is too late. It is up to his two daughters to fight. They face an 85-year-old man who has lived a good life. A life so beautiful that he is determined to end it, so much he refuses to see himself chase after it, diminished by his stroke. Question of dignity.
Ozon’s film is built around this collector and businessman who voluntarily committed suicide in 2009. Intubated, his mouth deformed, paralyzed on the right side after his stroke, this bad father initially inspires only contempt. . Ozon advances masked. After being refreshed in Brittany, the heroine returns to Paris as a warrior. An obstacle course awaits him. Between her and her father, the bonds are tightening. In France, the law does not allow you to voluntarily end your life. In a world of the well-off, money fixes everything. Do you have to go to Switzerland to an institute? Never mind! Crossed by flashes, humor and twists of fate, Everything went well looks like life. Brahms’ little music can be listened to on the piano solo. By focusing on the taboo subject of euthanasia, Ozon could have filmed a requiem. His film is an ode to vitality. And Sophie Marceau rides her role as a Valkyrie.