LunarPoise

Ozon masterfully tells a rural tale of family intrigue that raises more questions than is answers. That is all by design; the key pieces of the jigsaw puzzle happen off-screen, leaving the audience to speculate on degrees of culpability. Hélène Vincent as Michelle gives a masterclass in nuanced expressions. Michelle is a woman with a colorful past, one she neither tries to hide or revels in. We get glimpses of her attitude in a confident unspoken greeting to former co-workers at a funeral. In her relationship with her daughter, is Michelle the abuser or the abused?

Pierre Lottin as Vincent is equally enigmatic. His devotion to Michelle seems at first admirable, but then after a Paris visit, takes on shadows. If this pair are as evil as certain signs hint at, then Vincent is cult follower to Michelle's guru leadership.

A mother's devotion to her son is the stuff of legend, but this film suggests a grandmother's attachment to her grandson might just outstrip that. This film is both delightful and disturbing by turn. Classy, nuanced filmmaking that uses ambiguity in the right way.

Velvet Buzzsaw's mix of art-world satire and horror works well enough to have you laughing at some of the dialogue and holding your breath when someone is in peril. The visuals are impressive and playfully done - there is a scary primitive robot, and paint running off a canvas and up someone's legs was neat. And I liked the conceit of the same poor girl finding all the bodies. It just all feels like it is adding up to something, but then it doesn't. The actors are great and there is fun to be had in the journey, but it doesn't really go anywhere, even though it hints at having the potential to be more.

If you are a fan of heart-warming stories that are basically sentimental fairytales, then this might work for you. Both actors give low-key performances, and Renaud's wanders down memory lane range from the amusing, to the disturbing, with detours through highly implausible. Boon slowly giving in to her natural charm dictates the pacing, and that journey is pleasant if predictable.

The actors really do carry this film. The destination is basically telegraphed from the off, with the rich dying woman with no dependents encountering the financially-troubled but upstanding cabbie. Some of the interactions are quite twee, and an episode where the old lady cons the cops is a bit cringey. But there is no doubt an audience for this fare; I am just not one of them.

Lovely PR shots of Paris on the move, and two great actors. But is is a script written and delivered with a big bow by Hallmark. If that is you thing, go for it.