"Tu l'as dis aux autres que tu allais mourir? Et Sasha?"
-"Non, j'ai pas eu de courrage."
-"Pourquoi tu me le dit, à moi?"
-"Parce que t'es comme moi, tu vas bientôt mourrir." -Have
you told other people that you are going to die? Didn't you tell Sasha?
-No, I don't have the courage to say.
-Then why are you telling me?
-Because you are dying just like me.
When I saw this "Time Stay Le temps qui reste" here, I believed François Ozon was serious.
I'm used to his sensuality, talk about disorderly ethics, and write bizarre metaphors. But this one is different from the previous Ozon, except for his habitual arrangement of homosexual lovers in a desperate story mode.
Ozon is really good at a variety of techniques, slow rhythms and timely soundtracks, several dialogue opponents, and the camera slowly transitioning between the faces of both sides of the dialogue can be said to be old-fashioned and old-fashioned. Although grandma Jeanne Moreau is not forgiving, the glory of her youth is everywhere, but the soul of the old drama sits down, smiling and holding the most admired section of the film.
Ozon used to give me the feeling that I was always intricate and splendid. However, this "Residence of Time" chooses serious themes, but in fact there are several points that are slightly frivolous. Throughout the actor's card camera, Melvil Poupaud doesn't feel like a photographer when taking pictures. I can't even find the focused look on his face when he presses the shutter. However, the photos in the card machine did not appear at the end of the film... But after the scene of the dialogue with Jeanne Moreau, I looked at a section of the old album. The photos are quite textured (the face of Melvil Poupaud above is one of them). One), these are what surprised me.
In the sound of the waves that stretched to the end of the film, I heard Camus’s tone of "there is only one really serious philosophical question" again, and I remembered the long trajectory that took my shoes on the beaches of the Atlantic this summer.
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