The film by François Ozon is a detective, based on a play of the fifties. However, to denote the genre in one word would be a big mistake, since with equal success it is a musical, and comedy, and farce, and drama. This, perhaps, is the beauty of this film, that mixing so many components into a cocktail, the director was able not to
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The film by François Ozon is a detective, based on a play of the fifties. However, to denote the genre in one word would be a big mistake, since with equal success it is a musical, and comedy, and farce, and drama. This, perhaps, is the beauty of this film, that mixing so many components into a cocktail, the director was able not to shake it up to complete absurdity, as it often happens, but received a whole quality and interesting product. In the film there are 8 women of different generations (at first 7, one appears a little later), each with their own “cockroaches” and skeletons in the closet, and all of them are played by beautiful actresses, many of whom seem very atypical in their images (Kathrin Deneuve for me was definitely a discovery). They alternately lay out their cockroaches to the viewer in the form of a musical insert in the plot, accompanying this with several comic dances. When the first music theme started, I wanted to finish the screening disappointedly, but fortunately I stayed on screen. Indeed, these funny, somewhat ridiculous choreographic sketches, to slightly ironic melodies, gave the plot elements of farce, comedy and a sense of airy lightness. I will not disclose the detective component, the ladies are jointly trying to find out who killed a man whose close people they were all, and it is clear that the killer is inside this eight, the detective is "hermetic." Well, how the writers will solve this problem, because after sincere dances, sympathy appears for all the heroines. Even though they all have a bad-smelling history and motives for crime. At the same time, the sense of absurdity of what is happening does not disappear, the very element of farce, culminating in the passionate scene on the floor between Catherine Deneuve and Fanny Ardan. Fortunately, the director did not overdo it here, this episode became only a funny interspersion into the overall picture, without overloading the plot with LGBT themes. As a result, we got a film that combines incompatible elements. And it turned out very harmoniously, the picture is not loaded with either hard-to-reach plot bells and whistles, or timekeeping.
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