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Frantz finds writer-director François Ozon thoughtfully probing the aftermath of World War I through the memories and relationships of loved ones left behind.
All Critics (131)
| Top Critics (30)
| Fresh (119)
| Rotten (12)
"Frantz" offers a sympathetic, if dark, look at the awful wake of war, at the cost of institutional violence, as well as the cost of surviving.
Ozon wants to add another layer of perspective, to place Frantz's death in yet another context. Instead, the film's second half makes the first look strategic-a means to an end-serving less to countervail or complement than to cancel it out.
There's a sense of quiet introspection reminiscent of Ozon's collaborations with Charlotte Rampling, The Swimming Pool and Under the Sand -- arguably his best films.
The perhaps too-beautifully manicured black-and-white 'Scope cinematography and Paula Beer's bravura turn as the German girl who got left behind make it worth your while.
"Frantz," a moving film set in post-World War I Europe, looks at truth and lies and the necessity for both in a grieving world that makes no sense.
A fine bilingual cast, haunting period detail and a provocative approach to a twisting story carry the day.
Frantz swings the audience constantly between hope and despair for its characters thanks to a combination of winning performances, clever plotting, and stunning visuals. It's a pleasure to watch from beginning to end.
As usual, Ozon was solid behind the camera in a classic (re)tale about remorse, forgiveness, and passion.
The film does not continue in a conventional trajectory. It becomes Anna's story of self-discovery and will to live. It's haunting.
Strains credibility towards the end, but the performances, by [Paula] Beer especially, are first class.
A decent film, but call me crazy for wanting "Frantz" to be better than decent.
Using a structure that turns the film into a game of mirrors that constantly reveals new perspectives and unexpected depths... Ozon conducts an intimately epic examination... [Full review in Spanish
Unusually plotted and beautifully acted period piece with stunning black and white photography (and small, wonderful moments in colour). There's a lot of great subtext and subtle parallels in the shifting story, and it has one of the most perfect endings I've seen all year.
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