Modern retelling of Hansel and Gretel. After committing a murder, a young couple on the run find refuge in a remote cottage in the woods, where they become trapped by the perverse hermit who lives there.
A fashion photographer with terminal cancer elects to die alone, preparing others to live past him rather than prolong the inevitable with chemotherapy or be smothered in sympathy by those who know him.
The adventures of an upper-class suburban family abruptly confronted with the younger brother's discovery of his homosexuality, the elder sister's suicide attempt and sado-masochist ... See full summary »
Marina de Van
Mousse and Louis are young, beautiful, rich and in love. But drugs have invaded their lives. One day, they overdose and Louis dies. Mousse survives, but soon learns she's pregnant. Feeling ... See full summary »
Fictional film that simulates being a documentary about filmmakers who exploit the misery with mercantilist purposes. It is a scathing criticism "porno-misery" and the opportunism of the ... See full summary »
Luis Alfonso Londoño,
Marie, a professor of English literature in a Paris university, has been happily married to Jean for 25 years, although they have no children. During their summer vacations in the southwest of France, Jean leaves Marie sunbathing on the beach and goes to swim in the sea. When Marie turns back, she cannot find Jean. Has he left her? commited suicide? drowned? With no clue and no body to mourn over, Marie acts as her husband was still alive.Written by
For financial reasons, the movie was shut down for 6 months, which worked for the best for François Ozon because then he actually shot on the summer and the winter, like the movie differentiates. See more »
François Ozon's Under the Sand is a great departure from his previous films, trading the bold and over the top farce of Sitcom and the brash melodrama of Criminal Lovers for something much more restrained. As a result, this is a mature film about mature characters, shot in a low-key style that is beautiful, though unobtrusive; with Ozon's camera finding a sense of poetry and evocation in even the most mundane of objects to help further express the sense of grief and remembrance so central to the spirit of our main protagonist. To help convey this, the filmmaker instills his work with a lethargic mood, drawing on the silences of scenes and the physical and emotional distances between his characters to create something that is much more internal and subjective than the ensemble films that he is best known for (Sitcom, Water Drops On Burning Rocks, 8 Women, etc).
It's almost a cliché to reference Bergman when talking of films that focus almost solely on the existential matters at the heart of their characters, but I suppose it could be relevant here; the film also reminded me, in tone, of Woody Allen's Bergman-esquire drama Interiors, or perhaps even Another Woman, with the film often confining itself to cramped and quiet locations in which characters meet for sex and lengthy semi-philosophical discussion. It's certainly not a film for the Friday night matinée crowd, but I'd imagine that goes without saying; with the story focusing on middle-aged characters and themes like grief, regret, loss and mental illness. However, the film manages to transcend the chamber-piece trappings of the Bergman style of drama by also giving us an element of mystery. It would be wrong to reveal too much about this central concept in something as ultimately superficial as a product review, although it's safe to say that the film hinges around a question of bereavement and the way in which this bereavement, or loss, is viewed by our central character in relation to those around her.
In this respect the film is similar to George Sluizer's original version of The Vanishing, in the respect that both of these films pivot around a mysterious disappearance, which leaves the absentee's lover desperately searching for some kind of closure. Unlike The Vanishing however, Under the Sand relegates the more obvious thriller elements to the background in order to more closely analyse the effect of the disappearance and possible death on his lover and her different methods of coming to terms with it. Ozon, as evident from films like Water Drops On Burning Rocks and Swimming Pool, has a strong grasp on his actors, and here draws some beautifully rendered performances from his highly esteemed cast. As some of the other comments have already noted, the central performance from Charlotte Rampling is an absolute revelation, as she creates a character that remains elusive throughout, but at the same time, is completely sympathetic. A much understated drama.
3 of 3 people found this review helpful.
Was this review helpful to you?
| Report this