Review by
Benjamin Poole
Directed by: François Ozon
Starring: Hélène Vincent, Josiane Balask, Ludivine Sagnier, Pierre Lottin
Bonsoir, Mr Ozon, and what a pleasure it always is. With
When Autumn Falls, the filmmaker's sixth film in as many years, we truly are spoilt. There
is no denying the quality of the Ozon canon even when I'm not entirely
sold on individual entries; a body of work characterised by a spirited
ambition to explore different modes and genres (last year's farcey
The Crime is Mine
followed his histrionic Fassbinder cover
Peter von Kant) but which retain his universal interests in identity, sex and death. In
a post-auteur world (alright grandad, etc), let's not take him for
granted. A sinister and subtle mystery close in tone to
Swimming Pool, When Autumn Falls dials down the absurdity which at times
flavoured The Crime is Mine to slow burn its cryptic take on
the cosy crime genre.
Michelle (Hélène Vincent - our boy continues to create complex
roles for actresses of a certain age) is a retiree in a somnolente
Burgundy village where she "reads books, watches movies and bakes cakes"
(ie, the ideal existence). While her family seem to be at a remove, she
has friends in the close-knit community such as Marie-Claude (Josiane Balasko, speaking of auteurs...), who is similarly solitary due to her adult son
doing jail time, but with whom Michelle enjoys foraging for fungi in the
nearby forests (actual cosy overload: you could live in this film).
Problem is, upon making a platter of mushrooms sauteed in garlic and (I'm
assuming) Le Beurre Bordier for her visiting family, Michelle's daughter
falls dangerously ill. It turns out that the champignon were of the
poisonous variety. If the suggestion that Michelle is an experienced
forager is non-congruent, then the situation is further compounded by
neither Michelle or her grandson partaking; the (twelvety?) kid too young
to understand garlic and Michelle claiming that her appetite has been
ruined by her daughter's bad attitude. Valérie (Ludivine Sagnier
from Swimming Pool) sits at the table with a face like a slapped derrière, her phone out
(reason enough for a poisoning right there) excusing her mood by claiming
she has recently given up smoking. She is configured as an invasion of
city urgency and vanity, a persona consolidated by her upfront request for
Michelle to give her the house, as that way Valérie will "pay less tax
when Michelle dies." Ugh. "But I have already given you my Paris flat,"
Michelle replies, plaintively, while Valérie fusses about internet
connections.
Prior to Valérie's arrival, Ozon has presented us with extended sequences
of Michelle at home; tidying, preparing food, applying makeup. Scenes of
intimate solitude where we are encouraged to consider what is going on
behind the cool blue intelligence of her eyes. We pointedly follow her as
she leaves the lunch table, and there is a mushroom-pause as she considers
the remainder of the half-eaten dish. Slight spoilers for the insidious
method of Ozon's plot follow...
Valérie survives but is furiously suspicious of her mother, and pledges to
not see her, or allow grandson Lucas to visit either. We get the
impression that this isn't such a difficult decision for the avaricious,
phone toting offspring: she already harbours resentment for Michelle's
past employ as sex worker. Thing is, Valérie, what do you think paid for
your enviously located and spacious city property?! Sharper than a
serpent's tooth, n'est-ce pas? "Everyone deserves a second chance,"
Michelle maintains, a philosophy she puts into practice when
Marie-Claude's son is released from the big house. Played by
Pierre Lottin (Gallic Colin Farrell), Vincent is the archetypal
Ozon bit of rough with cheekbones; tempestuous, darkly handsome and with a
potential for violence. His loyalty to Michelle's benefactor encourages
him to visit the aforementioned appartement and the "ungrateful" Valérie,
wherein mysterious tragedy ensues...
Ozon films Michelle expressively: either in inscrutable close up or within
wide angles, the character interacting with the life she has made for
herself as we observe from a distance. The push/pull visual set
corresponds with the sly psychological levels
When Autumn Falls works with; how far is Michelle culpable,
and, what's more, why do we want her to get away with it? Or, perhaps, the
circumstance are actually as random as they do not seem, and our own
assumptions concerning Vincent's past fall short of the protagonist's
absolvitory outlook... Playful as ever, Ozon tightens the mystery via the
enigmatic performance of his imperial lead. Like the butter browned
mushrooms which triggered its series of deadly confluences,
When Autumn Falls is delicious but deadly.
When Autumn Falls is in UK/ROI
cinemas from March 21st.
