Todo saldrá bien

François Ozon's "Tout s'est bien passé" ("Everything Went Fine" in English) looks a topic that gets little focus in cinema: a patient's choice whether or not to commit suicide. This issue came to prominence when the US state of Oregon passed an ordinance allowing physician-assisted suicide in 1994. In 2001, the Netherlands became the first country to allow it.

This is one of those movies that requires you to pay attention the whole time: no explosions, high-speed car chases or corny one-liners. This is serious stuff. I wouldn't call it a great movie, but it takes a respectable approach to this controversial topic, showing all sides, as well as the difficulty of this in France (which for the record is ranked as having the best healthcare system in the world; in "Sicko", Michael Moore even showed France's robust welfare state).

Worth seeing if you get a chance. I also recommend reading about Oregon's Death with Dignity Act.

"Everything Went Well" is a feature film by French director Francois Ozon, which premiered in July 2021 at the Cannes Film Festival. The main roles in the film were played by Sophie Marceau, Hannah Shigulla and Charlotte Rampling.

The screenplay of the film is based on the novel by Emmanuel Bernheim. The central characters are two women (one of them is a famous writer) who find out that their father is terminally ill and wants to commit euthanasia The beginning of work on the film became known in March 2020. Francois Ozon wrote the script of the film himself , filming began at the end of 2020. The premiere took place at the Cannes Film Festival in July 2021,the film will be released in wide distribution in France on September 22, 2021.

"Everything went well" is another film by one of the recognized masters of European cinema, Francois Ozon. The film is based on the autobiographical novel by French writer Emmanuelle Bername. The film is based on the family story of a woman whose elderly father, a well-known art collector who was half paralyzed after a stroke, asks his daughter to help him pass away. However, since euthanasia is prohibited in France, it is not so easy to do what you have planned. And some of the hero's relatives are extremely negative about his decision.

Despite the rather serious topic and the declared genre of drama, the picture looks much easier than you expect at first. The main reason for this is the personality of the main character - the elderly Andre, who was brilliantly played by 75-year-old Andre Dussollier. Not the most positive husband and father, with a stubborn and selfish character, the hero does not always cause sympathy - despite the severity of the situation in which he found himself. You sympathize more with his family members - two daughters (played by Sophie Marceau and Geraldine Paya), for whom the fulfillment of the father's wish is fraught with possible legal problems and is associated with difficult moral responsibility. And also their mother (played by Charlotte Rampling), who suffers from Parkinson's disease, for whom marriage with Andre turned out to be a complete failure. After all, the hero of the film, on top of everything else, is also an open homosexual.

However, despite the complicated family relationships of all four, Francois Ozon does not seek to deeply explore the past of the heroes. There are several episodes in the film dedicated to the youth of the heroine, played by Sophie Marceau- but they look more like random memories or hints to the viewer, which can be interpreted in different ways. Ultimately, the director is more interested in the present, not the past. And the story shown in the film is, first of all, about what can wait for some of us or our parents in old age, about human choice and how this choice affects the closest ones. A magnificent acting ensemble, tragicomic situations in which the characters sometimes get into, witty dialogues and a very dynamic narrative for such films make the picture of Ozone quite interesting for the general public. At the same time, it's not worth waiting for something outstanding from this tape. There are a lot of bureaucratic details related to the process of euthanasia, a fairly predictable plot development and probably not the characters closest to Russian viewers. Nevertheless, Ozone in his film tells about the elite stratum of French society: the main character is a writer, her husband is a film critic, her father is a collector and businessman, her mother is a sculptor, her sister is a musician. The life of the heroes, despite some family grievances, is generally quite prosperous and secured. And therefore death does not look so terrible. No wonder, in one of the episodes, Andre, having found out how much you need to pay for the procedure of passing away, involuntarily asks a question: "Then how do the poor die?" "Oh, Dad, they're just waiting," the daughter replies.

Restrained in emotions, quite simple, but not devoid of touching and memorable moments, the story should appeal to those who love a calm, vital movie, and fans of Francois Ozon's work. In general, this is a well-made picture with a well-thought-out script, decent camerawork and excellent performance by all actors without exception.

With very precise acting and without any traces of kitsch, "Everything Went Fine" by renowned French director, Francois Ozon ("Frantz"), is a masterful reflection on assisted suicide. The movie is based on the eponymous autobiography of the main character, Emmanuelle. Accordingly, the film takes a very personal look at her father and his desire to end his life in a self-determined way, but also at the conflicts into which this plunges his immediate environment. In particular, the numerous legal, bureaucratic and not least financial pitfalls are illuminated by the film in an unpretentious manner.

For all the authentic feelings the film portrays, it resists any temptation toward pathos or over-dramatization. The biography of the dying father, his difficult marriage heavily burdened by his bisexuality, the critical relationship with his daughter ("You've always been my favorite son") -- all this is only lightly hinted at. In fact, the movie manages to tackle a deeply existential topic with surprising lightness.

All in all, this is certainly the work of a master director, but not quite a genuine masterpiece. Nevertheless, "Tout s'est bien passé" is well worth seeing and thinking about -- though it doesn't necessarily make you cry. At least not before the final credits roll.

Not many movies have the courage to ask the hard questions, such as this one. The cast is excellent, both Dussolier and Marceau do a splendid job. There are enough complications to keep things interesting, the story carries you along. It's a really good movie.

If I have any criticism, it's that it takes place in an upper-class family, for which money is not an problem (that issue is briefly mentioned in the movie). This is therefore not at all representative of the average person, and it would be interesting to see this happen in a less privileged environment.

Despite this, it's well worth watching.

The whole debate regarding assisted dying is contemporary and topical; cinema and TV are reflecting this with a number of productions, none finer than this 2021 French movie which avoids the obvious pitfalls of over-sentimentality, over the top ethical pronouncements and poor storytelling. Here we have a stellar cast (Marceau, Dussollier, Pailhais, Rampling and Schygulla) that adds international gravity to this sensitive subject material.

Andre (Andre Dussollier) is an 85 year old man who suffers a stroke that leaves him with life changing health issues. He makes the decision that he wants to end his life and asks his two daughters Emanuele and Pascale (Sophie Marceau, Geraldine Pailhais) to help him. We observe a family torn, twisted and uncertain about his request, yet Emanuele makes the decision to support her father in his 'project.' Assisted suicide is strictly illegal in France so they decide to take the only option open to them - get him over the border into Switzerland, where it's legal.

Despite a life-long love-hate relationship between them, there develops a latent bond between father and daughter amply realised by superb performances from Andre Dussollier and Sophie Marceau. Marceau has finally shed her Gallic pin-up girl image and developed into a fine actress, picking up serious parts that suit her in middle age.

Aspects of Andre's life and his relationship with family members come to the fore in the period before the date set to go to Switzerland, especially one particularly difficult one that had previously ripped the family apart. There is something forlornly upbeat about this film: a sense of Parisian sarcastic humour prevails when things look particularly bad and when Andre is at his most acerbic and bitter. The family put down their differences and pull together, even if they don't always agree with the 'project.'

A timely and significant film that manages to keep upbeat and realistic as it deals with a major issue of our time.