By Hannah Eaves
Frameline, San Francisco's International LGBT Film Festival, the world's largest and oldest queer film festival, celebrated its 30th anniversary in June and presented its Frameline30 Award to French director François Ozon.
He, in turn, brought along his eighth feature film in as many years, Time to Leave
. Ozon is known in part for his great talent for reinventing his style with every picture; satire gives way to camp, which gives way to intimate solemnity and so on. Time to Leave
, he has said, is the second film in a trilogy on death and mourning; the first, and widely regarded as one of his best, is Under the Sand
Even as the center plank of such a triptych, Time to Leave is not as daunting as it might sound. While it does take several stylistic cues from from its predecessor, where Under the Sand might leave you cold, there is a warmth in Ozon's latest film which may hinge on his extremely spare but confident use of sentimentality. It's also notable as one of the rare Ozon films that offers up a protagonist we could possibly see as a projection of Ozon himself, as his films are so often populated by famous older actresses or luscious younger ones. Romain (Melvil Poupaud) is a gay photographer who discovers he has a terminal illness and Time to Leave follows the last weeks of his life as he prepares for death.
How has the reception been so far to Time to Leave?
In France, for such a film, it was successful. The subject is pretty dark and difficult but the response was good. I've had many letters. I've never had so many letters from people after a film.
From people who had gone through similar experiences with family members?
Yes, or people who were touched by the story.
Bookmark/Search this post with: