A change of tone again from prolific director Ozon, (Potiche, 8 Women, Swimming Pool) this time a romantic mystery with a plot that twists and turns like a slinky. French veteran, Adrien, journeys to a small German village a year after the end of World War I, to visit the grave of his friend Frantz who died in the trenches. Village folk are cool towards Adrien, yet he talks to Frantz’s parents and his fiancée Anna (Beer) and tells the story of the young men’s friendship. But is Adrien what he seems?

Prolific director François Ozon is known for experimenting with a wide variety of genres, mixing them up and playing with their conventions. He enriches his narratives with layers of ambiguity as to the motivations of his characters. Here, the very absence of the titular character reinforces his tenacious grip and shifting presence, uniting and dividing the protagonists. Screening in the week of Remembrance Day, Frantz is a timely exploration of the mess that wars leave in their wake, and the problem of reconciling wartime experiences with post-war lives. Even this country knows of grandfathers who fought on opposing sides in the Great War. The fault lines on the Continent are far more blurred and confused – to the point where, after WWII, some border regions had to determine by referendum whether to identify with Germany or with France.

For this bilingual production, French director Ozon drew his inspiration from German-born Ernst Lubitsch’s 1932 film Broken Lullaby, which in turn was based on a French play. Ozon shifts the perspective and adds a sequel of his own invention (written with Philippe Piazzo). Moving between black & white and soft colours, he paints a compelling picture of private griefs played out before a backdrop of sweeping tragedies, of hopes for closure and reconciliation, buffeted by clashing national sentiments.

“Ozon reminds us of the adage, “the first casualty of war is truth.” He does so in a way that beguiles but also bedevils.” Bruce DeMara, Toronto Star

“As if shedding a skin, the film shucks off its elegiac, white-gloved manners to explore a slippery realm of secrets, lies and moral uncertainty.” Stephen Holden, The New York TImes

“Ozon is often at his best when working with women, and he has a fabulous talent in Paula Beer to bring his protagonist, Anna, to vivid life. She’s stunning in the role.”  Nigel M Smith, The Guardian.