3 items from 2017
Author: Stefan Pape
Given he’s one of our very favourite directors working today, it’s of great relief that Francois Ozon is such a prolific filmmaker, moving on from one project to the next in rapid fashion. This also means he releases a lot of films, which in turn, means we get to interview him a lot. Our latest meeting with the creative auteur was in Paris, to mark the release of Frantz…
So why the black and white aesthetic?
Actually the film was supposed to be shot in colour, but I decided one month before the shoot to change everything because after the location scouting, we found some very good places, especially in Germany, but it was full of colour, and I realised walking in the city, I saw some pictures of the place in black and white from the beginning of the century, and realised nothing had changed, »
- Stefan Pape
If we’re going to use it as an insult, let’s define our terms.
The film industry seems to have no shortage of words that either serve as synonyms or subsets of “adaptation,” most of which are brought to you by the letter “R”: reboot, reimagining, rendition, redo, revival, retelling, recreation, reanimation (and looking to the other 25 letters in the alphabet, version, homage, makeover, update). One, however, is not treated quite like the others, and that word is “remake.” When filmmakers bring it up by choice, it usually seems to be to explain why their films should not be thought of by that term, thank you very much.
Perhaps you know exactly what I’m talking about. Or perhaps you think I’m reading far too much into things. After going through over 500 pages of research on remakes and adaptations, I myself thought the latter just as possible as the former.
- Ciara Wardlow
When Nora Ephron decided to remake Ernst Lubitsch’s 1940 classic The Shop Around The Corner, she chose to update the story as well, setting it in what was then the present day. That seems a bit funny now, as few Hollywood movies from the late ’90s feel more dated than You’ve Got Mail. (Today’s version would likely be titled U up?.) Still, the impulse was sound. A movie inevitably reflects the time at which it was conceived, and a brand-new yet doggedly faithful take on the same material won’t always put viewers in the right headspace to appreciate how it might have played to the audience for which it was intended.
Frantz, the latest feature from prolific French director François Ozon (8 Women, In The House, Young & Beautiful), suffers from precisely that problem. The closing credits note that it’s “freely inspired” by Broken Lullaby ...
- Mike D'Angelo
3 items from 2017
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