Director: François Ozon
Cast: Fabrice Luchini, Kristin Scott Thomas, Ernst Umhauer, Emmanuelle Seigner
Running time: 105 minutes
Plot: A depressed literature teacher has his enthusiasm reignited by the voyeuristic and unsettling writing of a mysterious and brilliant student. As teacher and pupil confer, the line between reality and fiction blurs as the boy works his way into the lives of a middle class family, all for the sake of a good story.
Dans La Maison is exactly how the average punter imagines French cinema to be; cerebral, philosophical, artistic and not for fans of Michael Bay. And that is a very high compliment indeed. Ozon’s latest is a frothy yet complex piece that explores the nature of narrative, perception and reality. And it’s funny too.
We are instantly endeared to Germain (Fabrice Luchini, star of Ozon’s POTICHE), the downhearted academic who is drawn to the one decent writer in his literature class. He reads out a piece submitted by a mysterious pupil to his wife Jeanne (Kristen Scott Thomas, SALMON FISHING IN THE YEMEN) and they are instantly drawn into the world he creates. Is it real or fiction? Germain begins to take an extra curricular interest in the young writer, a striking and enigmatic 16 year old named Claude (Ernst Umhauer) and discovers his desire and subsequent success to enter the home of a middle class family, the son of which is also in their class. The boy frequently submits wonderfully written pieces detailing, in exquisite prose, the process by which he is penetrating the nuclear family. Germain reads each submission to Jeanne, ostensibly to critique the boys writing, but essentially to feed their shared voyeuristic interest. However, they are unclear as to what is true, what is fabricated or exaggerated and how much they should allow, or more presciently push, the boy to continue his endeavour.
With Dans La Maison, we are treated to a story within a story. Like RASHOMON (1950) or VANTAGE POINT (2008), the narrative is a question of perspective. For the first two acts, our only glimpse of the eponymous house and its inhabitants are through the musings of Claude, an unreliable narrator who’s grasp of story and structure is shaped by his mentor. As Germain gets drawn further into the story, he prompts Claude to change his actions for the betterment of creative writing, and the line between reality and fiction blurs.
Luchini is joyous to watch. He makes Germain, a potentially creepy caricature, into a relatable, very understandable man who needs something to inspire him, not only in his profession but in his soul. Thomas is effortlessly brilliant as the frustrated gallery curator who is troubled by her husband’s interest in the boy and drawn in to the taboo possibilities in equal measure.
Then we have the Artole family. Rapha Sr (Denis Menochet) and Rapha Jr (Bastien Ughetto) are the archetypal father and son. The father is sporty, sweary, eager to promote respect and hard work. The son is awkward, keen to please his parents and in need of a friend. Claude regards them with a mild distain but quickly becomes obsessed with the mother, Esther (Emmanuelle Seigner – THE DIVING BELL AND THE BUTTERFLY, 1997), the beautiful and bored wife that Claude may or may not attempt to seduce. As the boy writes, his mentor scolds his cliche descriptions of the family, mirroring the audience’s expectations of what will come of these people from the manner in which they are represented. After a while, I began to think that Rapha Jr was not getting much attention and being swept under the carpet, and was delighted when Germain exclaimed the exact same criticism. He becomes the audience and there is much pleasure to be had in witnessing his reactions, much like a Greek chorus, but with more direct involvement in the proceedings. The Artoles change throughout, according to the whim of Claude and we/Germain/Jeanne never quite know what to believe.
The revelation of the movie is Umhauer, a shockingly beautiful boy whose real seduction is of the lens. His portrayal of Claude is quiet and dangerous, he walks the line between unsettling and alluring, particularly as he watches the family from the peripheries, be it spying on the parents’ domestic disputes or on their love making. His bright eyes burst out of the darkness and when he turns his gaze to the camera, he fixes us to our seat, emitting a power far beyond his age.
Ultimately, Dans La Maison is bold, challenging and great fun. If you’re a fan of Francois Ozon, you will notice some recurring themes throughout his oeuvre, such as the stranger working their way into someones life and disrupting the status quo, a la SWIMMING POOL (2003). But even if you’ve never experienced his work, I strongly recommend you see this. It is not just a film for cinephiles, Dans La Maison will appeal to you if you enjoy characters, stretching your perceptions and, frankly, if you have a voyeuristic nature. Which, lets face it, we all do.
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