For “When Autumn Comes,” French film director François Ozone has created a bit of mystery and a mysterious heroine. The refined, modest, expanded entertainment on family, secrets and duties features a Burgundy location with great performances and some picture postcards. In the heart of France, it is located in a picturesque village in a large, beautiful house where Michel (Helene Vincent) builds her home. With her kind eyes, an innocent smile and hair, she looks at a picture of a sweet old lady. But as we remember, the appearance can be deceived, and as Ozone's film progresses, the picture becomes interesting and bigger.
Ozone's efficiency and refined style are one of his charms. His films include “Under the Sand” and “Swimming Pool.” In the precise and descriptive scene, he takes him to a round with Michelle, maps her pleasant environment, charts her routines, and introduces her small intimate circles, including another local Marie Claude (Josian Barrasco), a longtime charming and charming naive friend. Most of the time, the pieces fit together, but some things look off. For one, Marie Claude's son, Vincent (Pierre Lottin), is placed in prison when the movie opens (will be out soon). For another, Michel's daughter, Valerie (Rudievine Sagnier), is viscerally, inexplicably, and hostile to her mother.
The film initially surprises Sopolific, as Michelle's life and setup seem so Pacific. This acts as a mean and misdirection. When everything seems a little frictionless, turn to be vigilant (where you stay) as someone prepares toxic mushrooms for lunch and someone else eats them. Ozone, who wrote the script, continues to make the plot light and thicker, but also withheld information. Before you know it, this obvious story became a plot. Bad things lead to another (and another), and the air crackles with threats. Michelle and Valerie claim that Marie Claude is seriously ill and that Vincent will travel suspiciously. But the more things happen, the less you will know.
Ozone sprinkles hints on the story, evoking the ghost of Claude Chabrol (bonjour!), and evokes Grimm's fairy tale “Snow White and Rose Red” about the two sisters on a single vibrantly tinted autumn walk. He is also a foreground doubles. Sisters Michelle and Marie Claude have no partners. Each has a difficult adult child. Despite their nominal similarities, Valerie and Vincent are particularly different. He and his mom are openly loving for one thing. In contrast, the moment Valerie and her son Lucas (Garlan Elros) drive from Paris to visit Michel, the mood uglies. Valerie is extremely greedy and greedy, and quickly seeks Michelle's home. “When you die, I'll be less taxed,” she says before taking the wine.
Valerie can't be a totally normal villain, almost cartoonish, and because she's something useful. Sagnier conveys the character's horror with humorous Pimprick. Valerie never jokes – and with sharp, controlled gestures and expressions. When Valerie's eyebrows are light and high, her mouth frowns humorously matching eyebrows. Sagnier's performance brings her character (a materialistic city dweller who hates the country) to the edge of the caricature. His Vincent is an offshoot country boy, too big, too rough. These performances give the story a volatile Frison, but the more naturalistic ones of the actress playing her mother are soothingly familiar.
Ozone uses contrasting acting styles – realism draws you in, and hyperbolic turns keep you at bay – highlighting differences between characters. Even if all these parts aren't lined up in good condition, it's easy to admire how he plays them and how he plays the facility where he marshals other elements. That's because he's not particularly interested in the mystery. What relates to him is the issues of other people's mysteries, their ambiguity, nature, nurture, freedom, responsibility. He asks what parents owe the children when he skims the surface. There is joy in seeing him do so (his surface is charming), with stories about old but not necessarily sweet women.
When autumn comes
Not rated. In French, subtitles are included. Running time: 1 hour 42 minutes. In the theater.
