A British author seeks inspiration and solitude at her publishers holiday home in in the South of France. Her quietude is soon disrupted by the reckless, erotic lifestyle of the his daughter. Their tumultuous interactions set off a series of disturbing events.
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What was real? What wasn't? Towards the end things did get very surreal, and I really could feel that some twist was coming, but I expected that it would leave me with more definitive conclusions. But I didn't mind this sort of open-ending at all: what an excellent film! It was never obvious, never predictable, never boring. Charlotte Rampling was brilliant, and so was the whole story... within the story!
A crisp riff on La Piscine (revisited yet again) with a generally engaging melie of eroticism, alter egos and blurry reality despite a rather tricksy ending. Rampling steels her way through the sometimes opaque script with a certain hand.
The script could definitely be far better. There are incoherences like the fact that Julie talks about her father on the phone (like she is made or something ?) and then, we learn that her mother is dead.... Just doesn't make sense, like the end which doesn't give more to the movie and should have been removed.
2.5 (but me not rounding up is telling). A pretty good romp with a pretty good script with a pretty good cast and perfectly lazy execution. Ozon is like a sophisticate de Palma without the drugs - all the hackery, none of the fun. This could have been fun! Just watch as it dissolves into other, better, movies right before your eyes.
Mysterious, erotic, intriguing, voyeuristic, this is Ozon's best film. A simmering potboiler with echoes of Hitchcock (Rear Window) and Polanski, it's a true chamber piece, a film of style, atmosphere and strong central performances. The ambiguous ending suggests this isn't water tight but it barely matters.
This film is practially owned by Charlotte Rampling, who plays a successful and stuck-up English author who visits her French publisher's cottage and - according to IMDb - "unusual" daughter. The two form a weird bond and the script allows for Rampling's subtle acting to completely rule and expose her in away that (I feel) allows the viewer to think. One of the better films by Ozon that I've seen so far.