Bajo La Arena

Charlotte Rampling's marvellously judged performance as an Englishwoman whose French husband disappears whilst swimming is quite simply excellent. This is a perfect vehicle for Rampling as she is now, a beautiful mature woman who just oozes class. Without histrionics, she conveys the total sense of desperation at the loss of her husband, something which she will obviously never come to terms with. In terms of plot, this film is quite thin, but it is well worth watching for the central performance, which is thoroughly moving. Could be very bleak and depressing as a subject, but actually isn't at all. The time passed very quickly - my ultimate test of a good film!

A surprising change of pace for (up to that stage in his directorial career) shock auteur François Ozon in the wake of bourgeois facade-ripping as REGARDE LA MER and SITCOM, this minimalist masterpiece deals with love, loss and grief yet never becomes heavy-handed.

Middle-aged Marie (luminous Charlotte Rampling making a belated but extremely welcome return to leading roles), an English literature professor at a Parisian university, quite literally loses her husband (hauntingly sad-eyed Bruno Cremer) while on seaside holiday. She takes a nap on the beach as he's out swimming. When she wakes up, he has disappeared. Accidentally or voluntarily drowned ? Hiding perhaps from a stifling marriage ? Ozon offers no solid answers but focuses but focuses on Marie's stubborn denial of her husband's departure as she resumes her professional and social life as if nothing had happened. While those around her assume she's slipping from sanity, the truth proves considerably less tangible and far more nuanced. A tentative affair with the friend of a friend seems doomed from the start, leading to the shattering final scene, all the more heartbreaking for being open to any number of interpretations, none of them particularly cheerful.

Even though the filmmaker has reigned in his wicked humor and morality-defying shock tactics, this fortunately doesn't mean he has gone all solemn on us. The general lightness of tone might indeed startle in light of the subject matter, plus there's even an astonishingly erotic moment when Marie imagines herself being groped by both husband and lover in an elegant masturbatory fantasy. Ultimately, this is very much Rampling's show and clearly intended as such. Rarely out of frame for more than an instant here, she delivers the type of performance – both subtle and sensuous – that has been her stock in trade since she started enchanting movie audiences worldwide back in the '60s, her mysterious beauty undiminished (if anything, augmented more like) by the passing years. Contrary to her personal code of conduct (she will rarely work more than once with the same director, always looking for new experiences to further her craft and personal growth), she went on to star in Ozon's deceptively upbeat SWIMMING POOL and took a supporting role in his first failure to date, the atrocious ANGEL.

I just saw this film on cable last night, and thought it was wonderful - extremely moving, almost terrifying at times. Charlotte Rampling gave what was truly one of the two or three best, if not the best, performances by an actress in 2000 (take that, Julia Roberts). Extremely affecting, and highly recommended. However, I am confused by the cast list - I could have sworn that the actress playing Marie's best friend was Gena Rowlands, but she's not listed anywhere, so I'm not sure it was her after all. A great movie, rent it if you haven't seen it.

As a film script writer and director, Ozon has evolved and matured in "The Swimming Pool" and "In the house," developing his pet themes involving sex lives and mental infirmities. But the the real value of this film will remain Ms Rampling's performance which is comparable to her turns in "The Night Porter, " "The Damned," and "Hannah." She is evidently magical whenever she works with Ozon.

François Ozon's Under the Sand is a great departure from his previous films, trading the bold and over the top farce of Sitcom and the brash melodrama of Criminal Lovers for something much more restrained. As a result, this is a mature film about mature characters, shot in a low-key style that is beautiful, though unobtrusive; with Ozon's camera finding a sense of poetry and evocation in even the most mundane of objects to help further express the sense of grief and remembrance so central to the spirit of our main protagonist. To help convey this, the filmmaker instills his work with a lethargic mood, drawing on the silences of scenes and the physical and emotional distances between his characters to create something that is much more internal and subjective than the ensemble films that he is best known for (Sitcom, Water Drops On Burning Rocks, 8 Women, etc).

It's almost a cliché to reference Bergman when talking of films that focus almost solely on the existential matters at the heart of their characters, but I suppose it could be relevant here; the film also reminded me, in tone, of Woody Allen's Bergman-esquire drama Interiors, or perhaps even Another Woman, with the film often confining itself to cramped and quiet locations in which characters meet for sex and lengthy semi-philosophical discussion. It's certainly not a film for the Friday night matinée crowd, but I'd imagine that goes without saying; with the story focusing on middle-aged characters and themes like grief, regret, loss and mental illness. However, the film manages to transcend the chamber-piece trappings of the Bergman style of drama by also giving us an element of mystery. It would be wrong to reveal too much about this central concept in something as ultimately superficial as a product review, although it's safe to say that the film hinges around a question of bereavement and the way in which this bereavement, or loss, is viewed by our central character in relation to those around her.

In this respect the film is similar to George Sluizer's original version of The Vanishing, in the respect that both of these films pivot around a mysterious disappearance, which leaves the absentee's lover desperately searching for some kind of closure. Unlike The Vanishing however, Under the Sand relegates the more obvious thriller elements to the background in order to more closely analyse the effect of the disappearance and possible death on his lover and her different methods of coming to terms with it. Ozon, as evident from films like Water Drops On Burning Rocks and Swimming Pool, has a strong grasp on his actors, and here draws some beautifully rendered performances from his highly esteemed cast. As some of the other comments have already noted, the central performance from Charlotte Rampling is an absolute revelation, as she creates a character that remains elusive throughout, but at the same time, is completely sympathetic. A much understated drama.