Ou Rong's black and white films are rare, and the colors in the memories and fictional scenes are a reflection of the tone of the whole film. The rebirth after the war is still forever melancholy.
I just didn't expect Ozon, who is good at all kinds of SM and incest, but didn't make this into a G film, Rival's appearance and seeking redemption, acquaintance with the heroine, life after returning to France, and what is the truth? In the whole process of seeking the truth, I once imagined that Franz was Rival's other half, and Manet's "Suicide" made me firm in my guess, until I didn't see any reversal until the end. I exclaimed that Ozon can also tell an ordinary love story, but it is in a symmetrical way. The road moves forward, like the intersection, miss, reunion, and farewell again. This may be the end of a love that is at your fingertips.
A man appeared, the man disappeared, the man seemed to be dead, and the man appeared again. The little mysteries in the process of searching for redemption and finding each other became Ozon's trap that attracted everyone to step into the trap of what they wanted to express. From this perspective alone, Ozon is more and more fond of joking with the audience.
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