Sotto le foglie

Slow and predictable - to the point that I found my eyes closing during some scenes. A film that aims to provoke introspection or reflection should at least offer some meaningful insight. This one felt utterly flat: 2 hours and 9 Euros wasted.

To be fair, I wasn't the only one with this reaction - I saw similar expressions of disinterest in the theater.

The ambiguity of certain characters could have been intriguing, but it was handled carelessly. In some ways, it reminded me of the numbing dullness typical of Bertrand Tavernier's films - highly praised, yet hollow.

Some expressions - from the grandson, the friend's son, the daughter - hint at deeper emotions. But everything is left to the viewer's imagination. And that raises a question: if I'm expected to imagine everything, why go to the cinema at all?

I just watched this movie in Paris, and I was blown away how good is the story and how well written it is. I read that the movie won a couple of awards in San Sebastián festival and I was very curious. The film is a drama with a very dark side but at the same time with plenty of sense of humor all over. The cast is magnificent: all of them play so incredible real. Helene Vincent et Josiane Balasko deserve all the awards without forgetting Pierre Lottin, he's just amazing as the felonious son of hers. Without telling too much, the story depicts a kind of characters very rare to find in any movie. I loved how the movie surprises you with some very unexpected turns. I watched most of the films of Francois Ozon, and this one is probably one of his best works. A must watch!

When is a crime not a crime? That seems to be a question French films are asking lately. Latest to explore this issue is Francois Ozon in his new film with the awkwardly translated title WHEN FALL IS COMING. The main story concerns a woman, Michelle, and the strained relationship with her daughter. The daughter right off the bat appears eager for her mother to die so she can inherit the lovely country home, even though Michelle has already given her the beautiful large apartment in the city. The whole film is beautifully photographed with the autumn foliage providing a spectacular backdrop. It's mushroom season. The daughter, an embittered divorcee, brings her young son to visit his grandmother, Michelle. Michelle and her grandson enjoy a very loving relationship. Michelle makes lunch featuring a sumptuous mushroom dish. After lunch, she and her grandson go on an outing together. They return to find that the daughter has fallen ill, apparently from having eaten a poison mushroom. The daughter accuses her mother of deliberately trying to poison her. The police investigate. The cops are sympathetic, but the daughter threatens to keep her grandson away from his grandmother. It turns out that Michelle has an unsavory past, which is at the root of her daughter's bitterness. Michelle's best friend is Marie-Claude, whom she accompanies to visit her son Vincent, who is imprisoned for some unstated crime. (At one point we see him going to a gay cruising ground.) Apparently, he's basically a good person who just has a lot of bad habits that get him into trouble. He loves Michelle, who has always been kind to him. When Marie-Claude dies, he becomes closer to Michelle and wants to help smooth things over between her and her daughter. I don't want to include spoilers, but things take a negative turn at this point, raising a lot of questions. The police become suspicious and step up their investigation of Michelle and Vincent. This is an intelligent and compelling film for adults. There are no car chases, explosions, or vulgar jokes. It held my attention all the way through, despite the unsensational approach to the material. Performances are all excellent, especially Helene Vincent as Michelle. (Who says that there are no good roles for older women? Maybe in Hollywood, but the French have given us a great one in this film.) The more I think about this film, the more I appreciate it.

An ordinary film.

There's no wow factor in this movie at all. It's plain and simple, nothing more nothing less. It's straightforward in the way it tells a story and the story itself is nothing deep nor unique. The acting isn't too bad and does make the film a bit more engaging. The main aspect of the movie that carried it entirely is the cinematography, the scenes are beautifully rendered and balanced to create this almost welcoming, engulfing atmosphere. Every scene is a pleasure to the eye and focuses on every little detail to make it as realistic and genuine as possible. Overall a decent film, nothing special.

Most Ozon's films have something theatrical about them; not all of them though and it's not easy to pinpoint what exactly it is that makes them feel this way. However, what is clear, that something makes them charming, character-oriented, very pronounced and beautifully down-to-earth.

The plot is quite simple at the beginning but it twists itself further on and as the whole story unfolds, it becomes more intriguing thus diversifying the genre into more of a thriller or even a detective story. For almost two hours, we are observing lower middle class family members dealing with (or not) with their past (impossible to change) and present problems (Ozon focuses on those this time, and he is being hopeful in a very sweet way). The autumn in the film is a bit sad yet colorful and very beautiful, which is an obvious allegory to a human life. We become more aware of the mistakes of the past, but at the same time we have some more life to live, and we have those significant others that we love and live for. Autumn is the right time to re-establish the values, to accept and to forgive.