57 reviews
There are certainly many meanings underneath the veil of comedy of this movie. Indeed, defining "Dans la maison" a comedy would be reductive, in the same way as thriller sounds out of tune. And it's really difficult to assign a precise category to it. It's a multifaceted movie, showing different levels of interpretation. From the point of view of the teacher, it's a subtle reflection of a middle aged failed man, who has to come to terms with his failure as a writer, and his incapability to inspire enthusiasm in class of bored students. From the point of view of the wives, it's a refined portrait of middle aged unsatisfied women, and their need to find any kind of escape or consolation. But above all, the movie offers a lucid and intelligent gaze on people's voyeuristic curiosity, on how much we are ready to do in order to see what happens behind closed doors and walls, and here the pair teacher-student works perfectly, and develops through the quick-paced writing of a story where the boundaries between reality and fiction become more and more faded, thus making it intriguing and engrossing. On this aspect, the movie is also a reflection on the process itself of artistic creation, which can seduce the reader or the viewer with an incredible power of attraction. A movie which certainly offers a perfect balance between suspense and entertainment, supported by a talented young and mature cast, involving the viewer till the utmost, and moving us to an unpredictable and gripping finale.
Francois Ozon is the director of this provocative and unusual film that takes the viewer inside the minds of the characters. It is not a traditional movie with a beginning and an end but a study of a period in the lives of different people. In this movie, a high school student named Claude catches the attention of his teacher named Germain, through an essay that explores the family of another student, named Raffa. Claude has begun to tutor Raffa in mathematics. At first the teacher, as the student's mentor, is hesitant about the breach of privacy with this series of essays but succumbs to the the temptation to become a voyeur. Each essay ends with the notation...To Be Continued. Both student and teacher are seen as outsiders in their own worlds and are strangely attracted to the family. The student gently mocks the family he is observing as dull and middle class. The teacher can understand this estrangement from their world because Claude is from a different world and the teacher himself is something of an outsider in his own world. He encourages the boy to continue his writing because he feels the boy has potential as a writer. As the movie goes along, we see the family of Raffa behaving as many other families pursuing money and status. The boy and his father are both named Raffa so they become the Raffas (plural). The student has a romantic interest in the mother, who seems to be the real reason he wants to explore the home. The desire for sexual encounters is present throughout the movie and seems to come out in a few surprising and light hearted episodes. We also see how Raffa and Claude interact with their teacher and the other students and their own families. The wives of Germain the teacher and Raffa Sr. are also interesting with one a traditional woman handling the domestic lives of the two Raffas. Meanwhile, Germain's wife manages an art gallery for two wealthy sisters, who she is trying to keep happy by making the gallery profitable. The movie is an interesting view of modern angst with the pressures to conform competing with the desire to be independent and on occasion, straying from the accepted standards. All in all, it is a provocative look at the different lives of people who interact and occasionally come into conflict. At the end, we see the message: to be continued.
A wicked little movie that tries to brake boundaries and more than the fourth wall. It raises up a lot of questions and puts up the mirror to a lot of things, while continuously being funny and wicked at the same time. A hilarious attempt at describing what Art means nowadays or how we try to interpret it. Maybe even how we try to create it.
There is more than one story strand in this movie and they all get at least somewhat explored. And while some of those strands may feel like a cliché, the head on approach make them feel like a fresh take on it. You have to have an open mind about the movie and the way it is shot and told, but if you can do that, you might be able to enjoy this very much. Multiple views can also bring up new and exciting things you might not have seen first time around. Whatever the case, I can recommend this to anyone who wants to be intellectually challenged by watching a movie.
There is more than one story strand in this movie and they all get at least somewhat explored. And while some of those strands may feel like a cliché, the head on approach make them feel like a fresh take on it. You have to have an open mind about the movie and the way it is shot and told, but if you can do that, you might be able to enjoy this very much. Multiple views can also bring up new and exciting things you might not have seen first time around. Whatever the case, I can recommend this to anyone who wants to be intellectually challenged by watching a movie.
Francois Ozon's latest film is almost like an irresistible novel which you never wanna put down. The different ways in which he develops the characters is quite fascinating to watch.
Germain is a bored French professor who finds most of his students uninteresting or untalented. Then he becomes infatuated with a student's (Claude) essays, which are about a friend's family's life to which Claude has got a way into. Both their infatuations and fascinations make them take interesting actions which lead to almost disastrous consequences.
The final scene makes you wonder whether you too, like Germain, get the same voyeuristic pleasure watching others' intimate lives unfold in front you.
Ozon's movies have some some sort of charm which always keep you hooked till the end. I remember enjoying his last movie, Potiche; but unlike his last movie, this one is quite thought-provoking and gives various dimensions to character-development.
Germain is a bored French professor who finds most of his students uninteresting or untalented. Then he becomes infatuated with a student's (Claude) essays, which are about a friend's family's life to which Claude has got a way into. Both their infatuations and fascinations make them take interesting actions which lead to almost disastrous consequences.
The final scene makes you wonder whether you too, like Germain, get the same voyeuristic pleasure watching others' intimate lives unfold in front you.
Ozon's movies have some some sort of charm which always keep you hooked till the end. I remember enjoying his last movie, Potiche; but unlike his last movie, this one is quite thought-provoking and gives various dimensions to character-development.
- akash_sebastian
- May 27, 2013
- Permalink
This is a very interesting film taking both the point of view of a sixteen year old school boy and that of a middle aged teacher, with you dear viewer, playing yet another role. Ah ha, so, what we start with is a perhaps knowingly voyeuristic homework task set by the bored literacy tutor. Then we have the youth delivering precisely the kind of inflammatory story that reignites the tutor's interest. It's a dangerous game they both play - almost as if the boy were repeating the tutor's own youth with his post hoc adult knowledge. The innocents in this tale are ignored - or rather, their real stories are overlooked by both boy writer and his tutor whilst they play their silly game. The tutor's wife sees through the whole charade but then even her story is corrupted by inclusion in the boy's story-making. You, the viewer, need to pick carefully through the evidence you are presented. Do you want the boy to succeed? Do you want to encourage the teacher? Shame on you! You've gone down a garden path you should never have entered! Brilliant!
- PipAndSqueak
- Mar 30, 2013
- Permalink
Often funny, sometimes disturbing and sensual, the movie can be enjoyed at face value, but the heart of the movie lies underneath that appealing veneer, it's about creation and the required necessity to live your life fully to feed it. The budding writer enters the lives of a family, the same way a writer should embrace life itself, with a healthy dose of curiosity and nerve, precisely what his teacher is lacking. Add to that a fascinating and intricate observation of the blurring of lines separating reality from fiction in the feverish midst of artistic creation. Deep stuff, but all wrapped up in a neat bundle, Ozon making sure to leave almost no one on the side of the road, so to speak. So in conclusion it's smart and yet playful, intellectual but never pretentious. Well, in other words, it's a very good movie about potentially boring subjects. Highly recommended in those times of idiocracy!
- doomgen_29
- Oct 11, 2012
- Permalink
I think of Francois Ozon as a French version of Michael Winterbottom: a director interested in making a very diverse catalogue of films, more successful in some genres than in others, but no two of his movies are ever quite the same. 'In the House' tells the story of a teacher who encourages a pupil with a knack for storytelling, choosing to ignore (or even to encourage) the way the pupil is experimenting with life in order to find material for his tale. The twists revolve around the extent to which the teacher himself may also be present within the story. The conceit isn't a bad one, but the film has to work implausibly hard to bring it off: while the teacher and his wife are believable, I didn't find the pupil to be. Always he is writing of "normal life", as if to contrast with his own; but the film tells us nothing of what his own life actually is (except as a game-player extraordinaire). The ending is skillfully executed but overall, it's a little heavy-handed.
- paul2001sw-1
- Jul 2, 2016
- Permalink
- MOscarbradley
- Feb 19, 2013
- Permalink
Based on Juan Mayorga's play "The Boy in the Back Row", the film is reminiscent of Woody Allen's style with its layered plot.
It's the story of two people and their up and downs in their teacher and student identities, both trying escape to their ideal, in pursuit of reaching their ultima thule. The fiction they need in this escape sometimes turns into reality, but after a point it gets out of control and becomes dangerous. There is a utopia that can never be reached, the existing ones are replaced as it is realized piece by piece, end it gets worse than the beginning. And the movie emphasises this fragility to the audiance. And the ending is not really satisfying, even very weak. Ozon's response: "I think the ending of the movie is clear. I did it on purpose; I wanted the audience to be able to imagine their own movie while watching it. They can imagine a darker ending if they want to." His references to art and literature are very good. I think the biggest hit of the movie is Ernst Umhauer, the lead actor.
Lastly, speaking of Woody Allen; 'Match Point' is the movie that the characters went to see in the cinema, another nice reference.
It's the story of two people and their up and downs in their teacher and student identities, both trying escape to their ideal, in pursuit of reaching their ultima thule. The fiction they need in this escape sometimes turns into reality, but after a point it gets out of control and becomes dangerous. There is a utopia that can never be reached, the existing ones are replaced as it is realized piece by piece, end it gets worse than the beginning. And the movie emphasises this fragility to the audiance. And the ending is not really satisfying, even very weak. Ozon's response: "I think the ending of the movie is clear. I did it on purpose; I wanted the audience to be able to imagine their own movie while watching it. They can imagine a darker ending if they want to." His references to art and literature are very good. I think the biggest hit of the movie is Ernst Umhauer, the lead actor.
Lastly, speaking of Woody Allen; 'Match Point' is the movie that the characters went to see in the cinema, another nice reference.
- kino_avantgarde
- Oct 26, 2022
- Permalink
For his thirteenth feature film, French New Wave director Francois Ozon has outdone all acclaim given to his 2002 remake of "8 Women" with a mischievous and dysfunctional tale, of what can be perceived as
coming-of-age.
A black comedy conflated with so much grandeur from literary greats to post-modern poioumena, you cannot help but wave the white flag and just go along in service of jest and sheer curiosity.
Adapted from a brilliant play written by Juan Mayorgo, this film is a meta-narrative centered on Claude Garcia (Ernst Umhauer) -- a sixteen year old loner who intrudes upon the home life of fellow student Rapha Jr., and writes about it. What begins as a one-off weekend assignment for literature class, escalates with great passion and frequency when Claude's teacher, Germaine (Fabrice Luchini) detects flashes of talent and decides to groom the teenager.
Here, Ozon proposes a three-fold narrative weaving through the surface of three realities -- Germaine's growing obsession with Claude's story imitates the viewers' relationship with Ozon's film (and perhaps soap opera addiction), and Claude as a self-conscious narrator of the events occurring inside Rapha's house.
When the film begins, Claude is unhappy with a lonely life and clearly needs to distract himself with wholesome family warmth. Having witnessed Rapha's close relationship with parents Rapha Sr. and Esther at the school gate, strikes a friendship with the boy when semester begins. Establishing himself as a math tutor and study mate, Claude quickly wins their affection and trust. Thrilled by this opportunity to experience life with a sense of belonging, yet predisposed to primitive urge, Claude's desire swells into furtive yearning for Esther. And naturally, things get complicated.
As Germaine's involvement with Claude's writing departs from passive reader, to that of a story-telling coach superimposing rules of dramatic structure, it occurs to the viewer that he may very well be a shaping hand in the outcome of this voyeuristic experiment.
Of course, the fabrics of fiction and reality overlap but they do not confuse -- the satirical logic unfolds in ways that are thought- provoking, humorous and downright captivating.
cinemainterruptus.wordpress.com
A black comedy conflated with so much grandeur from literary greats to post-modern poioumena, you cannot help but wave the white flag and just go along in service of jest and sheer curiosity.
Adapted from a brilliant play written by Juan Mayorgo, this film is a meta-narrative centered on Claude Garcia (Ernst Umhauer) -- a sixteen year old loner who intrudes upon the home life of fellow student Rapha Jr., and writes about it. What begins as a one-off weekend assignment for literature class, escalates with great passion and frequency when Claude's teacher, Germaine (Fabrice Luchini) detects flashes of talent and decides to groom the teenager.
Here, Ozon proposes a three-fold narrative weaving through the surface of three realities -- Germaine's growing obsession with Claude's story imitates the viewers' relationship with Ozon's film (and perhaps soap opera addiction), and Claude as a self-conscious narrator of the events occurring inside Rapha's house.
When the film begins, Claude is unhappy with a lonely life and clearly needs to distract himself with wholesome family warmth. Having witnessed Rapha's close relationship with parents Rapha Sr. and Esther at the school gate, strikes a friendship with the boy when semester begins. Establishing himself as a math tutor and study mate, Claude quickly wins their affection and trust. Thrilled by this opportunity to experience life with a sense of belonging, yet predisposed to primitive urge, Claude's desire swells into furtive yearning for Esther. And naturally, things get complicated.
As Germaine's involvement with Claude's writing departs from passive reader, to that of a story-telling coach superimposing rules of dramatic structure, it occurs to the viewer that he may very well be a shaping hand in the outcome of this voyeuristic experiment.
Of course, the fabrics of fiction and reality overlap but they do not confuse -- the satirical logic unfolds in ways that are thought- provoking, humorous and downright captivating.
cinemainterruptus.wordpress.com
- BTaylor1990
- Apr 5, 2013
- Permalink
- lasttimeisaw
- Apr 23, 2013
- Permalink
I was intrigued, entranced and beguiled by this movie from the start, but 45 minutes in, it pretty much gives up. Claude is a teenage student who excels in maths, because of this he manages to inveigle himself into the home of Rapha a fellow student who is struggling with the subject. On the pretence of assisting with his homework he gets 'In the house' which he has been watching from a nearby park for a while. Claude's story of his time with Rapha and his parents is told to us via the essays he writes for his language teacher Germain. Germain laps up these tales and shares them clandestinely with his wife Jeanne (Kristin Scott Thomas, adding to her list of French movie roles). So much so he actively encourages the boy to carry on the deceit.
The story from in the house involves, possible infidelity, male bonding, voyeurism, the vilification of the middle classes, ill health, rejection and acceptance. And yet with all this going on I felt we were not being taken on a cinematic journey, it was more akin to slowly walking on a filmic hamster wheel.
After the great set up, where the characters are skilfully introduced, the performances are solid as is the direction and dialogue. But the writer and director don't know what to do after the set up and the film meanders somewhat tediously to a clumsy and over long conclusion. A shame really. I'm not sure The Buscatcher can recommend a journey to the flicks for this one.
The story from in the house involves, possible infidelity, male bonding, voyeurism, the vilification of the middle classes, ill health, rejection and acceptance. And yet with all this going on I felt we were not being taken on a cinematic journey, it was more akin to slowly walking on a filmic hamster wheel.
After the great set up, where the characters are skilfully introduced, the performances are solid as is the direction and dialogue. But the writer and director don't know what to do after the set up and the film meanders somewhat tediously to a clumsy and over long conclusion. A shame really. I'm not sure The Buscatcher can recommend a journey to the flicks for this one.
- Buscatcher
- Apr 16, 2013
- Permalink
- searchanddestroy-1
- Oct 12, 2012
- Permalink
Extremely well directed, with fine performances all round and marvellous dialogue, at once inspiring and amusing but there is a problem. I should probably stay quiet and not mention this. This film has been acclaimed all over and nobody seems to have mentioned it. I feel that I must at least allude to the proverbial 'elephant in the room'. However well this is dressed and it is indeed, well dressed with some super lines and if it veers a little too close to becoming a Woody Allen parody, it is still well done. But, it surely has to be faced that, interesting and insightful a view of marriage that it is, it is a gay view. I just don't buy the notion that the traditional father son relationship has gay connotations, they just might play sports together but surely not shower together like this. Neither do I buy the central gay conceit, indulged in previously in Pasolini's, Theorem, that a good looking boy can sleep his way through a traditional household. So just a little too much fantasy here methinks.
- christopher-underwood
- Apr 8, 2013
- Permalink
The story is based on the play 'The boy in the last row' and a well crafted French drama centers between teacher and student relationship.
The story begins like a serious drama, when character developments reach at a certain stage the peculiar way of story telling starts to dig deeper into the existing characters which puts us to curiosity about the next scenes. This was kinda unusual theme like 'Stranger than fiction' and 'Ruby sparks'. The story has the power to control over the audience, which sometime drags between reality and fiction as its layers and sub-plots. You can't just judge the story especially the end but you have to experience yourself by watching it till end. The twist was really a nice one, it made the movie completely. I liked the scene at the end when they both sit on a chair and looks at a small flats from outside and say their own version stories.
The movie was suspenseful but comedy, especially when the character Germain pop-out as a narrator or guidance during the story flow of a student and his affair. The actual story of the movie was a teacher finds out one of his student's caliber in writing. So he offers him guidance to improve his talent which later the student submits a series of essay papers. When the story written by his student brings complication to around them there is no other way to solve it. Before to giving up on it is reached at its highest point to blow on everything out.
As the story was loosely based on the house, the title was perfect. The unique way of story telling and the interesting characters made the movie rich and spicy. One of a best French drama of the year, in fact very clever, must appreciate the writer Juan Mayorga and the director Ozon. Definitely not to be missed suppose you are a movie fanatic.
The story begins like a serious drama, when character developments reach at a certain stage the peculiar way of story telling starts to dig deeper into the existing characters which puts us to curiosity about the next scenes. This was kinda unusual theme like 'Stranger than fiction' and 'Ruby sparks'. The story has the power to control over the audience, which sometime drags between reality and fiction as its layers and sub-plots. You can't just judge the story especially the end but you have to experience yourself by watching it till end. The twist was really a nice one, it made the movie completely. I liked the scene at the end when they both sit on a chair and looks at a small flats from outside and say their own version stories.
The movie was suspenseful but comedy, especially when the character Germain pop-out as a narrator or guidance during the story flow of a student and his affair. The actual story of the movie was a teacher finds out one of his student's caliber in writing. So he offers him guidance to improve his talent which later the student submits a series of essay papers. When the story written by his student brings complication to around them there is no other way to solve it. Before to giving up on it is reached at its highest point to blow on everything out.
As the story was loosely based on the house, the title was perfect. The unique way of story telling and the interesting characters made the movie rich and spicy. One of a best French drama of the year, in fact very clever, must appreciate the writer Juan Mayorga and the director Ozon. Definitely not to be missed suppose you are a movie fanatic.
- Reno-Rangan
- Aug 7, 2013
- Permalink
- writers_reign
- Mar 28, 2013
- Permalink
Maybe it's just me, but there's something sexy with stories about writers and their writings making it onto film, with recent releases such as Ruby Sparks powering its way into my top film of last year. In The House looks set to do the same too, directed by Francois Ozon, well known for his feature film Swimming Pool (which was also centered around a writer played by Charlotte Rampling), and based on a play written by Juan Mayorga called The Boy in the Last Row. Words cannot deny the genius of both the screenplay and the film's direction in crafting a piece that draws and sucks you into its narrative, becoming what's akin to a page turner that captivates all the way to the finale.
Fabrice Luchini plays Mr Germain, a literature teacher in a school whose lofty ambitions of imparting his vast knowledge go up in smoke with the most uninspired students, until he latches upon the raw talent of Claude Garcia (Ernst Umhauer), which isn't hard since his homework submission on what happened over the weekend was two pages compared to his peers' two liners, and contained all ingredients necessary that would have caught any reader's attention with its yet to be verified autobiographical nature, a hook, and a cliffhanger. Soon Germain slowly discovers that he wanted more, and takes it upon himself to bring Claude under his personal tutelage so that Claude's creative output and juices can get to be nurtured by him.
Kristin Scott Thomas plays Germain's wife Jeanne, who partakes in the same, reading Claude's submissions as she struggles to get her professional art gallery in order, lest it be shut down for the lack of a good exhibition. And the interplay between husband and wife over Clude is something the film excelled in, presenting two sides to an argument whether Claude is imagining it, or telling it as it is experienced, about his near obsession with wanting and eventually getting into the house of his friend Rapha Artole (Bastien Ughetto), which soon evolves into becoming an integral part of the household with his presence on the pretext of tutoring his friend, but essentially being an outlet to get close to Rapha's mom Esther (Emmanuelle Seigner), an infatuation that will take on epic proportions.
Interesting enough, this film works if you'd participate in it just as how both Germain and Jeanne allowed their morbid curiosity to get the better of them. We become those characters personified, and one can imagine just how powerful this is in a staged production. But its effect and impact are not diminished on film, as you'll find yourself demanding more, with Ozon often pulling the plug leaving you wanting more, and lapping everything up with Claude submitting another chapter of sorts being played out on screen. We connect the dots, and partake in the lives of the Artole family, learning about their hopes, dreams, secrets, celebrate in their success, and sympathize when they hit a brick wall. And there are many relationship types in the film, from that of lustful ones, to father-son relations, mentor-mentee, best of friends, and even the recurring GLBT ones that Ozon's films tend to feature.
In truth, watching this film becomes that guilty pleasure that is voyeur central, filled with comedy, drama, and wonderful acting that bring the characters to life, yet having the narrative mileage to pique and sustain one's interest from beginning to end by appealing to our primal curious nature, and really milking and manipulating it, with us allowing it to, and growing increasingly effective as we clamour for Claude to seek out even more intimate moments. It's a scary reflection of ourselves, yet an engagement by a film par none. A definite recommend!
Fabrice Luchini plays Mr Germain, a literature teacher in a school whose lofty ambitions of imparting his vast knowledge go up in smoke with the most uninspired students, until he latches upon the raw talent of Claude Garcia (Ernst Umhauer), which isn't hard since his homework submission on what happened over the weekend was two pages compared to his peers' two liners, and contained all ingredients necessary that would have caught any reader's attention with its yet to be verified autobiographical nature, a hook, and a cliffhanger. Soon Germain slowly discovers that he wanted more, and takes it upon himself to bring Claude under his personal tutelage so that Claude's creative output and juices can get to be nurtured by him.
Kristin Scott Thomas plays Germain's wife Jeanne, who partakes in the same, reading Claude's submissions as she struggles to get her professional art gallery in order, lest it be shut down for the lack of a good exhibition. And the interplay between husband and wife over Clude is something the film excelled in, presenting two sides to an argument whether Claude is imagining it, or telling it as it is experienced, about his near obsession with wanting and eventually getting into the house of his friend Rapha Artole (Bastien Ughetto), which soon evolves into becoming an integral part of the household with his presence on the pretext of tutoring his friend, but essentially being an outlet to get close to Rapha's mom Esther (Emmanuelle Seigner), an infatuation that will take on epic proportions.
Interesting enough, this film works if you'd participate in it just as how both Germain and Jeanne allowed their morbid curiosity to get the better of them. We become those characters personified, and one can imagine just how powerful this is in a staged production. But its effect and impact are not diminished on film, as you'll find yourself demanding more, with Ozon often pulling the plug leaving you wanting more, and lapping everything up with Claude submitting another chapter of sorts being played out on screen. We connect the dots, and partake in the lives of the Artole family, learning about their hopes, dreams, secrets, celebrate in their success, and sympathize when they hit a brick wall. And there are many relationship types in the film, from that of lustful ones, to father-son relations, mentor-mentee, best of friends, and even the recurring GLBT ones that Ozon's films tend to feature.
In truth, watching this film becomes that guilty pleasure that is voyeur central, filled with comedy, drama, and wonderful acting that bring the characters to life, yet having the narrative mileage to pique and sustain one's interest from beginning to end by appealing to our primal curious nature, and really milking and manipulating it, with us allowing it to, and growing increasingly effective as we clamour for Claude to seek out even more intimate moments. It's a scary reflection of ourselves, yet an engagement by a film par none. A definite recommend!
- DICK STEEL
- Apr 4, 2013
- Permalink
First, let me be clear my French is bad. I speak little and understand even little. Still I don't feel there is a language barrier for me to confuse this movie . The movie as a whole was different and I liked it. The first half was rather clear but the latter part got too confusing for reality or not like the Fellini's. Still the ambiguity was cherished be me. Director Ozon was really good and I'd like to see more of his works.
The things I find hard to believe is the story given by Claude. 'Was it too good?' - I don't think so. The comedy is extremely dark as suggested by the maker. I disliked it. There are too many "may be's" in the movie so I was uncomfortable. The movie is definably good but not for all viewers.
The things I find hard to believe is the story given by Claude. 'Was it too good?' - I don't think so. The comedy is extremely dark as suggested by the maker. I disliked it. There are too many "may be's" in the movie so I was uncomfortable. The movie is definably good but not for all viewers.
- fredberglyle
- Mar 28, 2014
- Permalink
Fun concept, reasonably well executed. A few good laughs and adequate tension keeps you interested until the somewhat tepid ending.
- MadamWarden
- Feb 26, 2019
- Permalink
This awkward and witty film is based on the play The Boy in the Last Row by Juan Mayorga, i.e. the script emanates from a solid creation. The run of the events is smooth, but sometimes it is tricky to follow the line between truth and fantasy, including the ending scenes, and some deeds remained mystery to me. In spite of serious topics touched (e.g. alienation, growing pains, loneliness, generation gaps), there are several funny scenes, particularly gallery-related ones, and strong performances provide additional value to the film (Fabrice Luchini as Germain Germain, Ernst Umhauer (skilfully depicting an 16-year-old while being 22) as Claude Garcia, Kristin Scott Thomas (in fluent French) as Jeanne Germain, Emmanuelle Seigner as Esther Artole - in particular). Hopefully, no remake will be made, as the sound of French and supposition of Frenchmen are just appropriate for such a film.
Recommended to all those fond of films with twists and not afraid of subtitles.
Recommended to all those fond of films with twists and not afraid of subtitles.
The school year begins. Germain (Fabrice Luchini), a French teacher , examines and corrects the usually disastrous homework of his new students. However, a boy (Ernst Umhauer) who prefers to sit discreetly in the back row -from where he can see everyone else- shows a keen sense of observation, a subtle vision. Encouraged by his teacher, he begins a serial-style essay, penetrating the world of two families: one family (Emmanuelle Seigner, Denis Ménochet, Bastien Ughetto) belonging to the petty bourgeoisie, with its hopes and frustrations and the other (Fabrice Luchini, Kristin Scott Thomas) closer to intellectual and artistic life. Faced with this gifted and unusual pupil, the teacher rediscovers his enthusiasm for his work, but the boy's intrusion will unleash a series of uncontrollable events. That's why the high school French teacher is drawn into a precocious student in his relationship with a friend's family. But what dark intentions does the young man hide and how far will his machinations go?. There's always a way in !.
This increasingly transgressive story revolves around the relationships between a teacher and one of his students, both in search of emotional reparation. The film develops a twisted relationship, which eventually becomes dangerous, in which reality and fiction are mixed together in an ingenious game. Suspense, comedy and drama come together in this film by French director Francois Ozon, who adapts the play ¨The Boy in the Last Row¨ by the Spanish writer Juan Mayorga. Ozon develops a skillful and addictive game of metanarrative, of story within a story. The cast is frankly extraordinary, adapting efficiently to their peculiar roles. Stars Fabrice Luchini (The crime is mine, The Girls on the Sixth Floor), Kristin Scott Thomas (The English Patient, Salmon Fishing in Yemen), Emmanuelle Seigner (Polanski's wife and stars Bitter moon, Frantic), Denis Ménochet (The Beasts, Peter Von Kant) and the two young newcomers to acting : Ernst Umhauer and Bastien Ughetto are very good, but with special mention for Ernst Umhauer as a sixteen-year-old boy who insinuates himself into the house of a fellow student from his literature class and writes about it in essays for his French teacher.
It is wonderfully accompanied by the exquisite music by composer Philippe Rombi, which undoubtedly supports the attractive rhythm of the feature film. The motion picture was originally and competently directed by Francois Ozon. It was the winner of the Golden Shell for best film and the Jury Prize at the San Sebastian Festival. The flick resulted to be pretty well, though a bit slow and implausible at times. In Ozon's formidable and prolific career, highlights his participation in a multitude of European festivals where he has won a number of awards. Ozon is considered to be one of the best French filmmakers. His favorite director is Rainer Werner Fassbinder, that's why he made 'Peter Von Kant'. Ozon considers filmmaking a "parallel world", in which he flees the boring everyday life. Ozon calls actress Romola Garai his muse. Member of the 'Official Competition' jury at the 62nd Berlin International Film Festival in 2012, where he has won several prizes. Ozon is a prolific writer and director who has made all kinds of genres with penchant for drama and comedy, such as: ¨By the Grace of God' , 'Été 85', 'Le Refuge', 'Peter Von Kant', '5x2' , 'Angel', 'Dans la maison', 'Swimming pool' , 'Le temps qui reste', 'Criminal lovers', 'Everything Went Fine', 'Sitcom', 'Potiche', 'Frantz' and his last one: 'Mon crime' . Rating Dans la maison(2012): 6,5/10. Worthwhile seeing. Above average.
This increasingly transgressive story revolves around the relationships between a teacher and one of his students, both in search of emotional reparation. The film develops a twisted relationship, which eventually becomes dangerous, in which reality and fiction are mixed together in an ingenious game. Suspense, comedy and drama come together in this film by French director Francois Ozon, who adapts the play ¨The Boy in the Last Row¨ by the Spanish writer Juan Mayorga. Ozon develops a skillful and addictive game of metanarrative, of story within a story. The cast is frankly extraordinary, adapting efficiently to their peculiar roles. Stars Fabrice Luchini (The crime is mine, The Girls on the Sixth Floor), Kristin Scott Thomas (The English Patient, Salmon Fishing in Yemen), Emmanuelle Seigner (Polanski's wife and stars Bitter moon, Frantic), Denis Ménochet (The Beasts, Peter Von Kant) and the two young newcomers to acting : Ernst Umhauer and Bastien Ughetto are very good, but with special mention for Ernst Umhauer as a sixteen-year-old boy who insinuates himself into the house of a fellow student from his literature class and writes about it in essays for his French teacher.
It is wonderfully accompanied by the exquisite music by composer Philippe Rombi, which undoubtedly supports the attractive rhythm of the feature film. The motion picture was originally and competently directed by Francois Ozon. It was the winner of the Golden Shell for best film and the Jury Prize at the San Sebastian Festival. The flick resulted to be pretty well, though a bit slow and implausible at times. In Ozon's formidable and prolific career, highlights his participation in a multitude of European festivals where he has won a number of awards. Ozon is considered to be one of the best French filmmakers. His favorite director is Rainer Werner Fassbinder, that's why he made 'Peter Von Kant'. Ozon considers filmmaking a "parallel world", in which he flees the boring everyday life. Ozon calls actress Romola Garai his muse. Member of the 'Official Competition' jury at the 62nd Berlin International Film Festival in 2012, where he has won several prizes. Ozon is a prolific writer and director who has made all kinds of genres with penchant for drama and comedy, such as: ¨By the Grace of God' , 'Été 85', 'Le Refuge', 'Peter Von Kant', '5x2' , 'Angel', 'Dans la maison', 'Swimming pool' , 'Le temps qui reste', 'Criminal lovers', 'Everything Went Fine', 'Sitcom', 'Potiche', 'Frantz' and his last one: 'Mon crime' . Rating Dans la maison(2012): 6,5/10. Worthwhile seeing. Above average.
This film is not for most people. There is no narrative plot, only suggestions of what might be included in a short story. Maybe this character could be like this, maybe this could happen, maybe that character needs more substance, what if she did this, etc. There is no dynamic conflict, no drama, no emotional investment by the viewers because anything could happen and nothing is real, it's only suggestions about where a story might go. Unfortunately, that could be an interesting idea if the suggestions were not banal, but they are banal. So, for me, and I believe for most viewers, this is not worth the time.
- RickyFlambo
- May 13, 2013
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