Marc Missonnier Movies

Playing like a combination of Todd Solondz, John Waters, and a dysfunctional and incestuous generic television sitcom, director François Ozon's blacker than night psychological family comedy touches on many aspects that would frighten off most casual viewers on concept alone. From the opening scene of a father gunning down his family (albeit experienced audibly while the camera remains fixed on an external shot of the exceedingly proper and mundane suburban home) to mother/son sex, and even moments that border on bestiality, Sitcom gleefully and unapologetically attempts to dismantle the denial-prone status quo while constantly dwelling on self-conscious shock tactics and riffs on such nuclear family stereotypes as the indifferent father and the obsessively proper mother figure. And while Ozon's tactics hit the marks at times early on, as the film grows increasingly debaucherous it becomes more and more difficult to assess the method to the suburban nightmare madness the film portrays. By the time the surreal climax involving one of the human characters' literal transformation into the catalyst that set the opening scene's tragedy into motion rolls around, it feels uncharacteristically out of place and forced within the admittedly already absurd context of the previous 70 minutes. As repulsive as some of the more sordid details of the deteriorating family values may be, the majority of the film keeps the viewer involved and interested until the apparent lack of direction and outcome sends it careening out of control and spiraling into a nonsensical conclusion. Had Ozon anchored himself to reality, so to speak, he may have crafted a not altogether flawless, but effective comment on the banality of the sugar-coated denial that makes up the majority of television sitcoms and its disturbing transcendence into real life. As it stands however, the film is effective and entertaining for the most part, though its ambiguously confusing ending distills the jarring impact that this otherwise effective satire may have held. ~ Jason Buchanan, All Movie Guide

In this French horror film, which many critics compared to both Scream and The Blair Witch Project, a group of young actors have been hired to stage a production of Little Red Riding Hood at a mansion far away from the city. When they arrive, the players learn that they're all alone at the estate except for the wealthy owner of the house, his young son, and a servant. They are also visited by police, who warn them that a violent criminal is on the loose and may be hiding somewhere nearby. As the evening wears on, the actors are murdered one by one, and the survivors fight for their lives as they try to find out who the killer is and what he wants from them. Promenons-Nous Dans Les Bois, the first film from director Lionel Delplanque, stars Clotilde Courau, Clement Sibony, Vincent Lecoeur, Alexia Stresi, and Maud Buquet. ~ Mark Deming, All Movie Guide

French bad boy director Francois Ozon follows up on his controversial first two films Sitcom (1998) and Criminal Lovers (1999) with this adaptation of a play that legendary German director Rainer Werner Fassbinder wrote when he was 19 years old. Retaining the play's four-act structure, the first act opens with middle-aged Leopold (Bernard Giraudeau) escorting young Franz (Malick Zidi) back to his apartment. Franz, who was on his way to visit his fiancée Anna, allows himself to be picked up by the older man. After some small talk, Leopold orders Franz to undress and wait for him in the bedroom. The second act takes up six months later. Franz has moved into Leopold's apartment soon after their first encounter. Interested in the arts and poetry, he increasingly finds himself at odds with his older, moody, demanding lover. Still, the relationship manages to endure. In act three, ex-fiancée Anna (Ludivine Sagnier) shows up at the apartment while Leopold is away. Their previous passion is quickly rekindled, and Anna soon marvels at the sundry techniques her lover has learned since she last saw him. When Leopold unexpectedly returns with Vera (Anna Thompson), his transsexual ex-lover, in tow, the stage is set for a complex dance of shifting power dynamics. This film was screened at the 2000 Berlin Film Festival. ~ Jonathan Crow, All Movie Guide

This is a dark, sinister second feature from the director of the 1995 film The Rock of Acapulco, featuring Charles Berling and Karin Viard as a married couple in Paris enjoying the fruits of their careers. He works in an executive post and she works out of a spacious Paris apartment she has inherited from her parents. Their son Julien (Alexandre Bongibault) and daughter Aude (Camille Vatel) are mostly in the care of babysitter Daphnee (Ludvine Sagnier). One day, an unkempt older couple (Manuela Gourary and Pierre Julien) ring their doorbell and introduce themselves as "the Worms," a sibling pair that evidently lived in the building years before. Marianne welcomes them in to look around. Their behavior seems courteous at first, but upon their departure, the family is affected. The house begins to do things on its own, Marianne's depression comes back to haunt her, and Daphnee's sweet demeanor turns sour without warning. A moody thriller from France, this is the first production of Bee Movies, a genre-based company known for such fare.
~ Jason Clark, All Movie Guide

Directed by Giordano Gederlini and produced by the same folks who packaged Francois Ozon's 8 Women, Samourais gives martial arts movies a rarely seen French twist. Beginning in feudal Japan, a pregnant woman manages to escape persecution long enough to have her baby, Kodeni (Santi Sudaros), a human-looking demon whose bald head reveals the shape of a spider peaking up from beneath the skin. Fast forward to present day Japan, where the death of a video-game engineer is traced back to Kodeni's goons. Though Tokyo policeman Fujiwara (Yasuaki Kurata) manages to foil and temporarily kill Kodeni, he is visited by the spirit of an ancient warrior, who warns him that Fujiwara's daughter, Akemi (Mai Anh Le), will give birth to the reincarnation of Kodeni. In order to prevent Kodeni's return, Fujiwara must travel to France, where his daughter has been studying for two years, and kill her demonic unborn child -- the fate of the world depends on it. ~ Tracie Cooper, All Movie Guide

A gaggle of mothers, wives, daughters, maids, and mistresses gather for a holiday homecoming at their country mansion -- and end up having to solve a murder-mystery -- in this musical-comic homage to studio-era "women's pictures" from acclaimed French director François Ozon. Partly inspired by George Cukor's 1939 classic The Women, 8 Femmes stars Catherine Deneuve as Gaby, a high-society matron just returned to her country house to celebrate Christmas with her husband; mother Mamy (Danielle Darrieux); sister Augustine (Isabelle Huppert); and daughters Suzon (Virginie Ledoyen) and Catharine (Ludivine Sagnier). Not long after they all arrive, however, do they find the man of the house with a knife in his back, whereupon everyone becomes a suspect -- including maids Chanel (Firmine Richard) and Louise (Emmanuelle Béart). The mysterious arrival of Augustine's sister-in-law Pierrette (Fanny Ardant) only complicates matters, as the titular eight women find themselves snowed in by a fierce blizzard, forced to confront the matter of the lifeless husband -- and their long-standing secrets and resentments -- without the aid of the police. Following its immensely successful release in France in early 2002, 8 Women enjoyed much acclaim at the Berlin and Toronto Film Festivals. ~ Michael Hastings, All Movie Guide

François Ozon's psychological thriller Swimming Pool stars Charlotte Rampling as a mystery writer. When Sarah (Rampling) is offered the use of her publisher's vacation home, she accepts the offer. The conservative, repressed Sarah clashes with the house's other inhabitant, Julie (Ludivine Sagnier), the uninhibited daughter of the publisher. Julie's promiscuous sex life intrigues Sarah and starts to lead to the thawing of the emotional deep-freeze between the two. The death of one of Julie's nightly assignations complicates their lives. Swimming Pool was screened in competition at the 2003 Cannes Film Festival. ~ Perry Seibert, All Movie Guide

In this tart comedy from France, Raphael (Edouard Baer) is a glib but talented author who has built a career out of ghost-writing autobiographies for a variety of celebrities. Raphael is also happily dating Muriel (Marie-Josée Croze), a successful architect, but that begins to change when he begins his latest project, a book on soccer superstar Kevin (Clovis Cornillac). While wading through Kevin's monumental ego and strange creative notions is a challenge in itself, what really sets Raphael's mind off course is the discovery that Kevin is dating Claire (Alice Taglioni), the object of Raphael's unrequited affection while he was in college. Raphael is suddenly determined to win Claire away from Kevin, though he hasn't figured out how to do this without alienating his wife and his client. Mensonges et Trahisons et Plus Si Affinité (released in English-speaking territories as The Story of My Life) was screened in competition at the 2004 Avignon Film Festival. ~ Mark Deming, All Movie Guide

Diagnosed with terminal cancer and given only a short while to live, a successful fashion photographer embarks on one final journey in the second of three films in a trilogy about death and mourning from French director François Ozon (the first entry in the the trilogy was Under the Sand) . After passing out during a particularly grueling photo shoot, high profile shutterbug Romain (Melvil Poupaud) is shocked to discover that his body has been ravaged by a fully metastasized cancer that will soon kill him. Without revealing the cause for his erratic behavior, the shell shocked Romain commences to alienate his entire family and ditch his handsome young boyfriend before connecting with affable waitress Jany (Valeria Bruni-Tedeschi) at a roadside café while en route to his grandmother's house. Upon arriving at the home of the one family member he knows will be joining him shortly in death, Romain's naked vulnerability is met with a gentle ear and sound advice. Once again meeting with the kindly Jany on his way to his ultimate fate, Romain and the waitress strike up an unusual bargain. ~ Jason Buchanan, All Movie Guide

A bourgeois office drone whose raison d'état is the music of French rocker Johnny Hallyday awakens one day in an alternate universe where the famed musician never recorded a single song. When he's not at the office dutifully plugging-away, Fabrice (Fabrice Luchini) lives a deadly dull life in the suburbs of Paris with his bored wife (Guilaine Londez) and rebellious teenage daughter (Elodie Bollee). The only thing that ignites passion in Fabrice's lifeless existence is the music of Johnny Hallyday, and every chance the smitten Fabrice gets he ventures up into the attic to worship at the shrine he has built to the larger-than-life pop icon. One night while drunkenly shuffling home, Fabrice goads on a quick-tempered neighbor and earns a stiff punch in the nose for his efforts. Upon awakening to discover that his elaborate rock star shrine is now a simple collection of beer cans, Fabrice calls to report a burglary to police. Strangely enough, no one - not even the police or his wife - has ever heard the name Johnny Hallyday. Subsequently, Fabrice makes it his mission in life to locate Hallyday and get him behind a microphone by any means necessary. Though the world's biggest Johnny Halliday fan does indeed eventually stumble across a bowling alley proprietor (Hallyday) who was once an aspiring teenage rock star, he soon finds his efforts to revive the failed singer's career thwarted in the most unexpected of ways. ~ Jason Buchanan, All Movie Guide