François Ozon
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The ending of In the House is blatant homage to Rear Window (1954).
Their enthusiasm for the way the boy builds a Rear Window narrative grows headier with each chapter of what they feel has the potential to be a great coming-of-age novel.
Adapted by the director from Juan Mayorga's play The Boy in the Last Row, In the House amounts to an insinuating mash-up of Election, Rear Window and Adaptation.
By the end, “In the House” becomes a remodeled “ Rear Window .”
To a plot with shades of Rear Window, Ozon has added class tensions and some clever asides on the sacrifices and responsibilities of art.
He’s also paying homage to Alfred Hitchock’s masterpiece of Peeping Tomism, Rear Window (1954), by concluding the movie with two characters peering into the back of a lit apartment building, where, in one unit, murders are taking place.
The Rocky Horror Picture Show (1975)
Directed by Jim Sharman
influenced 8 Women (2002)
Visuals Themes
The first, by Sagnier, was a hoot, with bouncy choreography that evoked Susan Sarandon in "The Rocky Horror Picture Show."
8 Women is definitely funny, sometimes in the way that The Rocky Horror Picture Show is funny.
There’s frippery and flummery a la Almodóvar and Hitchcock, two of Ozon’s favorite directors, and he also cites Wilder’s understanding of drag as a dramatic device in “Some Like It Hot” as a keen influence.
But as a woman, Duris (while amusing) is not much more convincing than Tony Curtis and Jack Lemmon in “Some Like It Hot.”
El tema de la muerte como praxis de dignidad es una constante en trabajos como Mar Adentro (Alejando Amenábar, 2005), Million Dollar Baby (Clint Eastwood, 2005) o The Man Who Shot Liberty Valance (John Ford, 1962).
Having made his bones writing for shows like Buffy the Vampire Slayer, Angel, and Alias, he went on to write 2008’s Cloverfield and co-write 2012’s The Cabin in the Woods, which he also directed.
Even his straight-faced dramas, such as Frantz, offer something more — namely, an exploration of identity and grief that feels in line with a number of his works.
The Women on the 6th Floor (2011)
Directed by Philippe Le Guay
influenced by Trophy Wife (2010)
Themes
If you’re not sure about The Women on the 6th Floor, here’s a question that may help you make up your mind: Did you enjoy Potiche, François Ozon’s 2010 comedy about a trophy wife who proves there’s more to her than what is demanded by her societal role? There’s no Catherine Deneuve in The Women on the 6th Floor, and it’s set about 15 years earlier, but if you could overlook the political incorrectness to enjoy the craftsmanship and harmless comedy of Potiche, you’ll probably have a good time at The Women on the 6th Floor, as well.
Fabrice Luchini "Intimate Strangers," "Potiche"…
After playing memorably against type as a boorish factory owner in Potiche, Luchini reverts to more familiar form as a sheltered Parisian grand bourgeois…
Luchini, who played the condescending patriarch in Potiche, is very experienced at this sort of thing.
The amazing cinematographer Yorick Le Saux, who filmed Swimming Pool , I Am Love , Arbitrage , and Olivier Assayas’ Carlos , finds extravagant beauty in the ruins of Detroit, the exotic back alleys of Tangier, and the fantastic disordered museums of the vampires’ living quarters, just as he finds more beauty in the faces of these actors than most movies bother to notice.
The classy Charlotte Rampling ("Under the Sand") is used all too briefly as a counterspy.