Ten years ago, François Ozon’s dark, Hitchcock-tinged melodrama See the Sea caught the attention of American film critics. The New York Times’ Janet Maslin marked him as “an impressive new filmmaker with a flair for implicit mayhem.” In the 12 features since then, Ozon has expressed his mayhem in various genres (musicals, fairy tales, magical realism, period romances, etc.), with different cinematic influences (Chabrol, Fassbinder, Renoir, Pasolini, etc.) and in a range of production scales. But central to all his films is a deep sense of the essentially conflicted nature of emotional relations, be it the comic sadomasochism of Water Drops On Burning Rocks, the perverse family values of Sitcom, or the life-affirming death wish of Time to…

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