When Autumn Falls

Bluesky

Masquerading, at least, in part, as a cosy crime drama, initial appearances are deceptive in François Ozon’s latest work. Set against the backdrop of autumn, the time of year reflects the stage that Michelle (Hélène Vincent) is at in life, as she potters in the woodlands near her rural French home. One thing that isn’t comfy, however, is her relationship with her daughter Valérie (Ludivine Sagnier) whose brewing resentment with her mother takes on fresh venom after an incident in which she and Michelle’s grandson Lucas (Garlan Erlos) pay a visit. The latest trouble is a case of mistaken identity, Michelle claims, although ambiguity hangs in the air like autumn mist and only thickens as the film wears on.

Michelle isn’t the only one whose relationship with her child is less than ideal, her best friend Marie-Claude (Josian Bolakso) is preparing for the release of her son Vincent (Pierre Lottin) from jail. This straightforward set-up is cleverly pulled this way and that by Ozon as he reveals details from the past, while leaving things shrouded in the present. Elements of this play out as a mystery but Ozon, in the Chabrol style, bolts on a domestic psychological drama while infuses the whole thing with some humour to boot. Somehow Ozon makes these marriages seem harmonious, although his decision to add a touch of the supernatural threatens the film’s cohesion in places.

The delight of the drama stems from the well crafted characters, while its heft hinges on toxicity that may not be immediately obvious. Veterans Vincent and Bolasko are a loveable pair, which makes it easy for us to sympathise with them in comparison to Valérie, who Sagnier plays as sour and sharp in equal measure. Lottin, meanwhile, was the one who was garlanded for his acting at San Sebastian Film Festival and his performance flutters so that although we think we know his ‘type’ initially, he becomes increasingly hard to weigh up.

There are pleasures to be had, too, in the general look of the film, with its autumnal palette and camerawork from Jérome Alméras that pays close attention to the actors so that we can see the subtle shifts in their thought processes and attitudes.

Ozon and his co-writer Philippe Piazzo have worked together numerous times before but this is one of their most satisfying collaborations, delivering an exploration of guilt and the potential for redemption, while making sure the mystery element also turns towards a satisfying climax.