Todo saldrá bien

The whole debate regarding assisted dying is contemporary and topical; cinema and TV are reflecting this with a number of productions, none finer than this 2021 French movie which avoids the obvious pitfalls of over-sentimentality, over the top ethical pronouncements and poor storytelling. Here we have a stellar cast (Marceau, Dussollier, Pailhais, Rampling and Schygulla) that adds international gravity to this sensitive subject material.

Andre (Andre Dussollier) is an 85 year old man who suffers a stroke that leaves him with life changing health issues. He makes the decision that he wants to end his life and asks his two daughters Emanuele and Pascale (Sophie Marceau, Geraldine Pailhais) to help him. We observe a family torn, twisted and uncertain about his request, yet Emanuele makes the decision to support her father in his 'project.' Assisted suicide is strictly illegal in France so they decide to take the only option open to them - get him over the border into Switzerland, where it's legal.

Despite a life-long love-hate relationship between them, there develops a latent bond between father and daughter amply realised by superb performances from Andre Dussollier and Sophie Marceau. Marceau has finally shed her Gallic pin-up girl image and developed into a fine actress, picking up serious parts that suit her in middle age.

Aspects of Andre's life and his relationship with family members come to the fore in the period before the date set to go to Switzerland, especially one particularly difficult one that had previously ripped the family apart. There is something forlornly upbeat about this film: a sense of Parisian sarcastic humour prevails when things look particularly bad and when Andre is at his most acerbic and bitter. The family put down their differences and pull together, even if they don't always agree with the 'project.'

A timely and significant film that manages to keep upbeat and realistic as it deals with a major issue of our time.

Based on the late Emmanuèle Bernheim's novel Everything Went Fine, French filmmaker François Ozon's light-hearted drama/comedy Tout s'est bien passé is filled with heart and humanity. Starring Sophie Marceau, Charlotte Rampling, André Dussollier, Géraldine Pailhas and Hanna Schygulla, the film beautifully encapsulates the human condition. Fantastic performances with a heartbreaking story. A portrait of what it is to be ill and ageing.

This is a film that touches on something deeper.

François Ozon's "Tout s'est bien passé" ("Everything Went Fine" in English) looks a topic that gets little focus in cinema: a patient's choice whether or not to commit suicide. This issue came to prominence when the US state of Oregon passed an ordinance allowing physician-assisted suicide in 1994. In 2001, the Netherlands became the first country to allow it.

This is one of those movies that requires you to pay attention the whole time: no explosions, high-speed car chases or corny one-liners. This is serious stuff. I wouldn't call it a great movie, but it takes a respectable approach to this controversial topic, showing all sides, as well as the difficulty of this in France (which for the record is ranked as having the best healthcare system in the world; in "Sicko", Michael Moore even showed France's robust welfare state).

Worth seeing if you get a chance. I also recommend reading about Oregon's Death with Dignity Act.

With very precise acting and without any traces of kitsch, "Everything Went Fine" by renowned French director, Francois Ozon ("Frantz"), is a masterful reflection on assisted suicide. The movie is based on the eponymous autobiography of the main character, Emmanuelle. Accordingly, the film takes a very personal look at her father and his desire to end his life in a self-determined way, but also at the conflicts into which this plunges his immediate environment. In particular, the numerous legal, bureaucratic and not least financial pitfalls are illuminated by the film in an unpretentious manner.

For all the authentic feelings the film portrays, it resists any temptation toward pathos or over-dramatization. The biography of the dying father, his difficult marriage heavily burdened by his bisexuality, the critical relationship with his daughter ("You've always been my favorite son") -- all this is only lightly hinted at. In fact, the movie manages to tackle a deeply existential topic with surprising lightness.

All in all, this is certainly the work of a master director, but not quite a genuine masterpiece. Nevertheless, "Tout s'est bien passé" is well worth seeing and thinking about -- though it doesn't necessarily make you cry. At least not before the final credits roll.

Questions related to assisted suicide and the right to die have been debated hotly for decades, and proponents on each side of these issues have made passionate arguments for their causes. A number of fine films have addressed these issues, too, such as "Blackbird" (2018), "You Don't Know Jack" (2010), "Whose Life Is It, Anyway?" (1981) and "The Barbarian Invasions" (2003). And now moviegoers can add the latest offering from writer-director François Ozon to that list. This fact-based drama about an elderly French stroke victim who asks his daughter to help him die examines the subject from a variety of angles, including the legal, medical, emotional and ethical considerations involved in carrying out such a highly charged act, and it does so with a great deal of integrity, authenticity and heartfelt feeling. It's also one of the finest, most accessible offerings from a filmmaker whose works I believe often leave much to be desired. However, with that said, that's not to say that this release is without its issues, such as several story threads that don't feel fully resolved, as well as some occasionally strange camera work and seemingly superfluous narrative elements. Nonetheless, "Everything Went Fine" has much in its favor, including excellent performances by its three principals (Sophie Marceau, André Dussellier and Géraldine Pailhas), a comprehensive script, sustained pacing, well-placed moments of comic relief, and emotional impact without becoming manipulative or schmaltzy. If you can look past this offering's minor shortcomings, you'll come away from it having had a moving and insightful cinema experience, as well as a thoughtful meditation on when it's time to stay and when to go.