Water Drops on Burning Rocks

This is absolutely vintage Francois Ozon fare. He really does take French farce to a whole new level of humiliation and pain for its victims. I can't help feeling though, that the audience is being asked to laugh at rather than sympathise with their dilemmas. (Just see the scene where the young boy dresses for his hot date in some kind of lederhosen. Don't tell me you weren't giggling). Underneath the kitsch seventies style and the black humour, however, this film has a serious topic: the very nature of desire. These are characters who will do anything in order to fulfill their desires, regardless of the destruction they cause to themselves, or in the case of Leopold, others. But what else is their for them in the suburbs of a non descript German town? capitalism may let you have sex without whoever you want, but it doesn't seem to give you the tools to know whether you really want to be having sex with that person in the first place. An intelligent, witty and thought provoking film.

François Ozon has flair and style ('Swimming Pool', 'Under the Sand', '8 Women', etc) and in scripting Rainer Fassbinder's 1970s play 'Gouttes d'eau sur pierres brûlantes' for the screen he has created an edgy, fun, and poignant examination of the lives of four people at their intersection.

Act I (for that is the way the film is laid out in homage to Fassbinder's play): 50-year-old Léopold (Bernard Giraudeau) is entertaining 19-year-old Franz (Malik Zidi), who he has picked up in a bar, with sharp repartees about his past loves and is sparred by Franz relating his current affair with the young and beautiful Anna (Ludivine Sagnier). The conversation gradually gets around to seduction and both Léopold and Franz happily reenact each other's physical fantasies. Act II: some months later and Franz has moved in with Léopold becoming the devoted housewife in lederhosen to Léopold's increasingly cranky self. They argue, threaten, but eventually succumb to the safety of the boudoir to settle differences. Act III: Léopold's ex lover Vera (Anna Levine) arrives at the door to find Léopold in a new life and departs brokenhearted. Anna likewise arrives during one of Léopold's absences and for two days Franz and Anna try to recapture their previous affair. Upon Léopold's return, Anna finds Léopold appealing and behaves seductively. Vera arrives, reports that she is a transsexual now in a female form, and Léopold is delighted with the idea of a ménage a quarte. But it is Franz who has found his true life and love and how he deals with the proposed turn of events forms the rather surprising end to this film.

Each of the four actors is excellent and Ozon paces them well. There are some really fine moments, as when Franz reclines in his bath quoting Heine's poem 'Lorelei' revealing how far more penetrating the changes in his vision of his life really have become, when Ozon improves on Fassbinder. Not a great movie but a bit of the different that spices movie viewing. Grady Harp

And I thought 8 Women was a masterpiece..

Francois Ozon is a filmmaker who is on the high road to immortality. I saw this film late one night when I couldn't sleep and it was the single most enthralling movie-watching experience I've had in that condition. Pourqois?

Three reasons: 1. The gorgeous cinematography. While it was mostly static edited shots, they were Kubrick-accurate (angled impeccably) & the color was so lush I was literally remarking aloud- "Ozon is a master". 2. The gorgeous actors. Only 4 stars in this film, and they are all excellent. Their faces are endlessly fascinating, and I do not have words to describe their beautiful bodies. (J'adore Sagnier Sagnier Sagnier!) 3. The gorgeous story. This film has it all-emotion, sex and death. Everything a successful film should have. But what I say can't come close to the experience. "Water Dropping" should drop your jaw.

I've never been a big Fassbinder fan but with the coming retrospective I thought it was time to check him out again. So I chose this movie, since it was a Fassbinder script directed by a Frenchman (Ozon) that I admire. It was a delight. Somehow the problems I always had enjoying Fassbinder (the intense cruelty between his characters, the disorienting emotional mood swings, the bleak, dreary German atmosphere) were completely offset by the sense of play and love of color and music that Ozon brings to this script. As in 8 Women, his sense of style and beauty rival Almodovar's and even the grim reality of Fassbinder has a beautiful, chic French gloss. He understands that love and sex in Fassbinder are closely matched with jealousy and destruction. It all clicked for me. And the omnisexuality is so fresh - so unspoiled... That said, it's a devastating critique of what lovers can do to each other. But it's,...well...so pretty...

I really, really enjoyed it.

When Ozon meets Fassbinder, WATER DROPS ON BURNING ROCKS is based on Fassbinder's four- act play he wrote when he was only 19, with a minimal cast of four exclusively boxed inside an apartment, which immediately evokes Fassbinder's own chamber rhapsody THE BITTER TEARS OF PETRA VON KANT (1972), but under Ozon's fabrication, there is enough French glibness and levity to temper an inchoate observer's jejune but palatable fantasy about the abjection of love.

Léopold (Giraudeau), a 50-something business man, brings home a 20-year-old boy Franz (a ginger Zidi), aka. Fassbinder's alter ago, they engage in conversations and consensual sex, and in the next act, six-months later, Franz has already moved in as Léopold's living-in boyfriend. The pair often squabbles about trivial matters due to their different personalities, but a grace not is that their sex can still expunge the discomfort, but inexorably the situation evolves into a humiliation test for Franz, as much as he loves Léopold, how long can he endure his domineering volatility?

During Léopold's away for a business trip, Franz's ex-girlfriend Anna (Sagnier) visits him in the apartment and they rekindle their romance and it seems Franz has finally made up his mind, to end his masochistic affection to Léopold and seek a new lease on life with Anna. But their plan is scuppered when Leopold unexpectedly returns home earlier than planned, he effortlessly dismisses their child's play meanwhile at the drop of a hat, Anna falls under Léopold's suave charm and is more than ready to put out, and the situation compounds when Léopold's jilted old-flame Vera (Levine) pays an unbidden visit, the quartet is assembled, and a new round of master-and- slave game starts. A disconsolate Frantz, piqued by Léopold's promiscuity and haughtiness, and the fact that he has never been taken seriously by him in their lopsided relationship, yet admits his incapability to overcome the inherent subservience which a creature holds towards his creator, conducts a final manifestation of his severance from him once and for all.

Demarcated its running time within a 90-minute spell, the film doesn't feel over-claustrophobic in spite of its one-location-only monotony thanks to Ozon's jaunty tenor and clinical interior design, a telling discrepancy from Fassbinder's own temperament, yet both share an artistic astuteness of exquisite camera compositions to amply and examine the emotional turmoil of their actors.

Although the whole narrative might partake of a youngster's perverse Freudian intuition about love, carnality and preordained conflict between rebellion and submission, the core cast leavens the material with layers of personal touch, ranging from bravado (Sagnier's spritely volupté and Zidi's painstakingly bland greenness) to bravura (Giraudeau's quasi-insufferable cockiness and Levine's uncanny vulnerability under the slap). As a matter of fact, Vera's jeremiad told through her ultimate tête-à-tête with Frantz is more unsettling than Frantz's struggle and the last shot framing at her attempt to fight back the stifled morbidness is Ozon's coup de maitre, who never flinch from exacting gallows humor when someone is shuffled off this mortal coil.

By and large this Ozon-and-Fassbinder hybridization doesn't yield a 1+1>2 ground-breaker, nevertheless it still tackles its intricate dilemma with a measured stride, if not entirely coherent, at least we have that "man in overcoat" fetish to relish with a knowing grin.