What if one of Harvey Weinstein's victims, unable to fend off her attacker, just shot him through the head? Would that count as self-defence? And how would the court case about this crime look like?
This is one way of interpreting 'Mon Crime', the delightful new film by François Ozon. The similarities are too obvious to ignore. It's about a young, attractive actress visiting a powerful film producer in order to get a part in a new film. But during the interview, the producer turns out to be a sexual predator. She admits to having killed him with his own gun. During the court case, she uses all her acting abilities to convince the jury of her innocence.
The funny thing is, this is not a serious analysis of power and gender, but a screwball comedy set in 1930's Paris. It's hilarious, it's stylish, and it's full of razor sharp references to the present. Ozon captures the 1930's style of film making perfectly, including the exaggerated acting, the witty dialogues, and the continuous plot twists, one even more improbable than the other.
It's clear that Ozon had lots of fun making this movie. He inserted small films-within-the film (in silent-movie style), he used marvellous 30s locations (I recognized the Villa Empain in Brussels), he casted Isabelle Hupert in one of the most memorable parts of the film, and he lets the jokes continue, even during the end credits.
This is not a cutting-edge film which will blow you away. But it's a perfectly made, very entertaining movie which doesn't have any weak moments.
This is one way of interpreting 'Mon Crime', the delightful new film by François Ozon. The similarities are too obvious to ignore. It's about a young, attractive actress visiting a powerful film producer in order to get a part in a new film. But during the interview, the producer turns out to be a sexual predator. She admits to having killed him with his own gun. During the court case, she uses all her acting abilities to convince the jury of her innocence.
The funny thing is, this is not a serious analysis of power and gender, but a screwball comedy set in 1930's Paris. It's hilarious, it's stylish, and it's full of razor sharp references to the present. Ozon captures the 1930's style of film making perfectly, including the exaggerated acting, the witty dialogues, and the continuous plot twists, one even more improbable than the other.
It's clear that Ozon had lots of fun making this movie. He inserted small films-within-the film (in silent-movie style), he used marvellous 30s locations (I recognized the Villa Empain in Brussels), he casted Isabelle Hupert in one of the most memorable parts of the film, and he lets the jokes continue, even during the end credits.
This is not a cutting-edge film which will blow you away. But it's a perfectly made, very entertaining movie which doesn't have any weak moments.