Following François Ozons last film, a bubbly 1970s kitsch piece, Potiche, his new social farce returns the Swimming Pool writer/director in familiar creative territory. Here, Ozon again plays with class, sex, and voyeurism in art, in a light but inventive comedy.
A failed writer-turned-teacher, Germain (Fabrice Luchini) is intrigued and flustered when one of his high school students, Claude (Ernst Umhauer), hands in a promising writing assignment. His well-written narrative explains the joy he felt upon entering the happy middle-class home of a classmate for the first time. He describes the house in detail as a place he would never otherwise be invited into without a good reasonClaude has volunteered to be his new friend’s math tutor. He seems critical and self-aware, and Germain encourages him to continue writing.
Claude gives his teacher another paper about his new friends household, and another. His writing becomes more like blog entries. With each, Claudes interest in his classmates family develops in unsettling ways. He seduces his male friend; he fantasizes about the father, a sports fan with a beer belly; and begins lobbying for the mothers attention as both a new son and a new lover.
The audience has to wonder alongside Germain, how much of his students prose is true, and what Claude really wants to achieve from his writing. Is it homoerotic? Is it even really sexual? Part telenovela, diary, Playboy letter, bildungsroman, and expression of class contempt, partly fact and partly fiction, Claudes words become a sociopathic fantasy so eerie and charged that theres no way to predict what actions he might take next.
Germain and his wife, failing gallery owner Jeanne (Kristin Scott Thomas), cant stop reading Claudes pulpy version of reality. They find what they want in his words, reading together in bed, and wait anxiously for each new entry. Is it the writing that they like, or is it Claudehis perspective, his sexuality, his mysterious motives? Worse, and more disturbing to Germain: is it really possible to draw those lines and define the difference? The film seems to underline a selfish wish fulfillment in the way we appreciate art and relationships, taking what we want for our own secret purposes.
Ozon has always been a sexually provocative directorthe bulk of his filmwork is filled with unexpected entanglements and complicated relationships hot with desire. (Swimming Pool alone is lodged on a large share of top 10 lists for the sexiest film of all time.) In the House seems to explore what this kind of professional identity might mean for one of Frances most prolific contemporary directors. What do we really enjoy in movies? In stories? In other people?
Simple directorial flourishes turn Claudes narratives into dreamscapes, weaving in and out of reality. Slowly, Germain and Jeanne become part of the story line, only somewhat unwillingly. Germain attempts to help Claude improve his first-person narratives plot and purpose, and the student responds eagerly but with malice, seemingly acting out Germains desires. At one point, Germain asks why he kissed his classmate, and Claude asks if that wasnt desirable for his audience.
But even with so much menace, Ozon keeps the film light. With their framed Klee posters and a doll collection in the guest room, the family of Claude’s obsession is depicted with ridiculous class clichés meant for laughs. If Claude and his two readers hadn’t taken the family so seriously, neither would we. Jeanne, too, is played as a joke. Her gallery sells paintings of penises turned into swastikas and Buddhist lotus flowers. And Germain is a bumbling intellectual too caught up in himself to keep pace with his pupil’s growing understanding of his teacherit’s fun to watch Germain fumble.
The leads are enjoyably difficult to read, their real desires as closed to the audience as they are to themselves. And its such a pleasure to see Kristin Scott Thomas in a comedic rolethats almost worth the admission price alone. Its a lovely, layered film, tense and hilarious, and there are enough gestures here towards the complexity of moviemakings motives and expectations to make this otherwise fun film worth thinking about afterwards.
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