van Hoeij | The Cinema of Francois Ozon | Buch | 978-0-231-18872-2 | sack.de

Buch, Englisch, 256 Seiten, Print PDF, Format (B × H): 152 mm x 229 mm

Reihe: Directors' Cuts

van Hoeij

The Cinema of Francois Ozon

Exquisite Transgressions
Erscheinungsjahr 2019
ISBN: 978-0-231-18872-2
Verlag: Columbia University Press

Exquisite Transgressions

Buch, Englisch, 256 Seiten, Print PDF, Format (B × H): 152 mm x 229 mm

Reihe: Directors' Cuts

ISBN: 978-0-231-18872-2
Verlag: Columbia University Press


Eclectic is a word often associated with the output of the French director François Ozon. He has directed both 8 Femmes and Potiche, two mainstream comedies featuring a singing Catherine Deneuve, and a series of sober dramas about death, mourning, and transmission, including Under the Sand, Time to Leave, and The Refuge. He likes to examine the connections between fiction and the real world, as in Swimming Pool and In the House, and explore issues of sexuality and gender in films such as Water Drops on Burning Rocks, The New Girlfriend, and Young & Beautiful. Whether his films are in French, English, or even German, like his post-WWI drama, Frantz, Ozon is interested in how his characters learn to stand up for themselves and their own desires. This book explores the craft and influences of one of France’s most prolific talents, paying special attention to the one constant in his work: Ozon’s superb command of narrative and storytelling techniques.

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Autoren/Hrsg.


Weitere Infos & Material


van Hoeij, Boyd
Boyd van Hoeij is a freelance film critic and writer based in Paris and Luxembourg. He is the author of 10/10: 10 Directors, 10 Years of Francophone Belgian Cinema, 2000-2010 (Wallonie-Bruxelles International, 2010). His reviews from the world’s major film festivals (Cannes, Sundance, Toronto) have appeared in Variety and The Hollywood Reporter.

Boyd van Hoeij has been a contributing critic at Variety since 2008 and the Hollywood Reporter since 2013. He is also the film editor of the bimonthly Winq (Netherlands) and contributes to Filmkrant and The Atlantic.



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