François Ozon, one of the most daring French filmmakers of his generation, distinguished himself by his ability to mix drama and comedy in works as diverse as “8 Femmes”, “Swiming Pool”, “Grâce à Dieu”, “Under the sand” or “Everything went well”.
Invited for the first time to the Marrakech International Film Festival (FIFM), he spoke with the public about his career, his vision of contemporary cinema and the importance of preserving the big screen experience in the face of the explosion streaming platforms. He also took part in the question-and-answer game with Le360.
Le360: In the “Conversations” program, you hosted a cinema lesson during the Marrakech International Film Festival. What does such an exercise mean to you?
François Ozon: I am very happy to discover Marrakech. At a certain point in a filmmaker’s career, it becomes essential for him to pass on his knowledge. As a former film school student, I have always found it valuable to listen to directors share their experience, their working method, their relationship with actors and technicians… It’s very enriching. With over twenty films under my belt, I have accumulated some experience, and if I can help answer questions, I am happy to do so. Of course, there are no fixed rules in cinema, but some experiences are worth sharing.
Your films mix drama and comedy. How do you manage to find a balance between these two registers?
It is never premeditated. Comedy, for example, often arises from an unexpected situation, sometimes even from the actors’ performance or their way of saying certain lines. That said, comedy remains one of the most demanding genres: it’s all about pacing. A comedy that doesn’t make you laugh is a disaster. On the other hand, for a dramatic comedy, it is easier to establish a serious and heavy tone. But succeeding in making people laugh is always a big challenge.
Does the rise of streaming platforms influence your approach to cinema?
For the moment, I create films intended primarily for the theater. Cinema on the big screen remains important to me, even if I have received several offers from platforms. What I like about the cinema experience is that it represents a real celebration: you buy your ticket, you share the moment with friends, you discuss the film afterwards, perhaps over dinner. All this ceremony disappears with the platforms.
“As long as I have the chance to make films for the big screen, I will continue. If one day that became impossible, I would probably revise the way I work.”
— François Ozon, French director
On platforms, spectators consume cinema differently: they interrupt a film to answer the phone, watch the Internet at the same time… This completely changes the way we perceive a work. As long as I have the chance to make films for the big screen, I will continue. If one day this became impossible, I would probably revise my way of working, but for the moment, this ideal remains intact.
Auteur cinema has long dominated French cinema. Is it still as present today?
I think French cinema is very diverse. If auteur cinema plays an important role, there is also a very popular commercial cinema, although less visible abroad, notably in Morocco. We are fortunate to have a very structured system, supported by the CNC (National Center for Cinema and Animated Images, Editor’s note), which allows independent financing of films. This political framework guarantees the vitality of French cinema, despite the crises. Personally, I think that French cinema still has a bright future ahead of it.
In France, national cinema retains a significant market share in the face of the hegemony of American cinema. This diversity is a real wealth. Personally, although I make films that are not purely commercial, I still have the chance to meet a large audience. My latest film, “When Autumn Comes”, which tells the story of two old ladies picking mushrooms in the forest, attracted 700,000 spectators. Few countries allow such unique national cinema to resonate with such a wide audience.
Par Quds Chabaa et Adil Gadrouz
04/12/2024 at 1:07 p.m.
