Frantz (2016) is only the second film in competition at the 73rd Venice Film Festival set in the immediate postwar period of 1918; the other is light between oceans (The Light Between Two Oceans, 2016). Both deal with the trauma of war, always portrayed with a halo of mystery and vagueness.
the story follows Anna (Paula Beer), a young German woman who just lost her fiance, Frantz, in the Great War. Living with parents of her late boyfriend, who treat her daughter. One day he comes home a Frenchman, Adrien (Pierre Niney), who claims to have been a friend of Frantz. At first there is reluctance in the family to receive a French – especially the father, the village doctor – but Adrien begins to brighten the home with stories of him and Frantz and accept it in the family
<. p> This puts an interesting resource which refers to one of the previous films by director François Ozon, in the house (Dans la maison, 2012) in game – deceptive fictions as safety valves, how they are perpetuated complacently and the validation of well-founded on lies. Entry is known that Adrien is not being totally honest and there are several layers of lies and truths debug. Certain plot twists take Anna to build their own story and present it to her adoptive parents. – Which, in turn, touches them deal with social pressure from the people
As the story stands on this axis works perfectly. But the last stretch of the film unnecessarily lengthens; until the last minute will continue to introduce characters, conflicts and turning points so that the intention of the story is losing strength and clarity. Towards the end of the film bet everything on a love story that is difficult to be interested, partly because it arises as short term, partly because it feels more pragmatic than passionate.
It is also not very well decision to dye the black color film in certain scenes and white. Why some scenes are colored is a mystery. Sometimes it seems that just about coloring flashbacks, or pivot points, or something as trivial as moments of happiness, but for every theory there is at least a problematic exception. The end of the film also turns color in what must be an attempt to great closing. Whatever that means, the resource is vulgar.
Ozon’s film work while sticks to the rules. As soon gets lost declines significantly.
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