Frantz

By September 22, 2017Uncategorised

November 2, 2017

Frantz France/Germany
Location: SilverCity
Showtimes: 6:30 & 8:40 pm

Director: François Ozon
Cast:  Pierre Niney, Paula Beer, Ernst Stötzner 
Runtime: 113 minutes 
Language: French, German
Rating: PG

César Awards, France: Best Cinematography; Sedona International Film Festival: Best Foreign Feature; Venice Film Festival: Best Young Actress: Paula Beer.

“A fine bilingual cast, haunting period detail and a provocative approach to a twisting story carry the day.”—Kate Taylor, Globe and Mail

Several times in Frantz, director François Ozon’s requiem for post-World War I Europe, Philippe Rombi’s score returns to a refrain that echoes “Ode to Joy,” the final movement of Beethoven’s Ninth Symphony. It’s a small gesture, but one that speaks to the deep-rooted unrest that keeps Frantz’s characters from finding any kind of solace.

The thing holding everyone back is the death of the titular character—a young German with a passion for music and art who, pushed to enlist in the army by his father, was killed in action. Months later, his parents and fiancée Anna (Paula Beer) are still mourning his passing, but are eased out of their despair by the arrival of Adrien (Pierre Niney), a Frenchman who seems to have known Frantz before the war and shares in the family’s grief.

Initially confused and icy to this stranger—he is French after all–the family eventually adopts him as a reminder of, and a surrogate for, their lost loved one. But Aiden seems to be withholding something. What is his secret? Anna is both confused and curious. While there are familiar suspicions, Ozon has his own tricks up his sleeve.

Ozon uses Frantz to investigate the nature of forgiveness following a war—though they shared a border, Germany and France were on opposite sides of the conflict—and the weight of grief. And he finds a simple but hugely effective way to symbolically reflect the moments when his characters find calm and comfort.

While most of the film is in black and white, certain scenes are rendered in lavish colour. That those florid moments are few, and even include a painful flashback to the war, only emphasizes how conflict and suffering can drain the wonder out of everyday life.

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