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Dans la maison (2012)

Fabrice LuchiniVincent SchmittErnst UmhauerKristin Scott Thomas
François Ozon


Dans la maison (2012) is a French movie. François Ozon has directed this movie. Fabrice Luchini,Vincent Schmitt,Ernst Umhauer,Kristin Scott Thomas are the starring of this movie. It was released in 2012. Dans la maison (2012) is considered one of the best Drama,Mystery,Thriller movie in India and around the world.

A sixteen-year-old boy insinuates himself into the house of a fellow student from his literature class and writes about it in essays for his French teacher. Faced with this gifted and unusual pupil, the teacher rediscovers his enthusiasm for his work, but the boy's intrusion will unleash a series of uncontrollable events.

Dans la maison (2012) Reviews

  • Best Ozon in years!


    Often funny, sometimes disturbing and sensual, the movie can be enjoyed at face value, but the heart of the movie lies underneath that appealing veneer, it's about creation and the required necessity to live your life fully to feed it. The budding writer enters the lives of a family, the same way a writer should embrace life itself, with a healthy dose of curiosity and nerve, precisely what his teacher is lacking. Add to that a fascinating and intricate observation of the blurring of lines separating reality from fiction in the feverish midst of artistic creation. Deep stuff, but all wrapped up in a neat bundle, Ozon making sure to leave almost no one on the side of the road, so to speak. So in conclusion it's smart and yet playful, intellectual but never pretentious. Well, in other words, it's a very good movie about potentially boring subjects. Highly recommended in those times of idiocracy!

  • Fact or fiction?


    Francois Ozon's delightful, delicious new comedy "In the House" is a wonderfully clever and very funny treatise on the written word delivered in very cinematic terms, on the thin line between fact and fiction, truth and lies and the individual's need for attention. The central characters are two misplaced males destined, perhaps, to be together and who find each other almost by accident. Germain is a middle-aged (and bitterly cynical) schoolteacher, (a terrific Fabrice Luchini), who one day finds that an essay handed in by handsome young loner student Claude, (Ernst Umhauer, excellent), has all the promise of a blossoming literary talent simply because it deals, in a well-written way, of course, in 'truths', (it describes Claude's infatuation with a fellow student and his family and what might go on 'dans la maison' in which they live), and the essay ends 'to be continued'. He shows the essay to his wife, (a lovely performance from Kristin Scott Thomas), and, on the one hand, egged on by her and, on the other, despite her misgivings he takes Claude under his wing, so to speak, encouraging him to produce more 'to be continued' episodes on what goes on behind the walls of his friend's family home. As someone says, it can only end badly. The brilliance of Ozon's conceit is that what we see and what we hear aren't always the same. Sometimes if Germain thinks 'a factual' description of events is not worthy of his talents, Claude will change it in the next scene and as Claude's 'literary career' progresses some of the things he writes has no basis in fact whatsoever so that we, too, are left wondering what's real and what isn't. It is, of course, a hugely sophisticated comedy where a subplot involving Germain's wife's preoccupation with the art gallery she runs is used to counter-balance Germain's increasing preoccupation with Claude, a preoccupation his wife thinks may even have a sexual basis. Without giving anything away, the film itself ends with the words 'to be continued'; if only ...

  • a perfect balance between suspense and entertainment


    There are certainly many meanings underneath the veil of comedy of this movie. Indeed, defining "Dans la maison" a comedy would be reductive, in the same way as thriller sounds out of tune. And it's really difficult to assign a precise category to it. It's a multifaceted movie, showing different levels of interpretation. From the point of view of the teacher, it's a subtle reflection of a middle aged failed man, who has to come to terms with his failure as a writer, and his incapability to inspire enthusiasm in class of bored students. From the point of view of the wives, it's a refined portrait of middle aged unsatisfied women, and their need to find any kind of escape or consolation. But above all, the movie offers a lucid and intelligent gaze on people's voyeuristic curiosity, on how much we are ready to do in order to see what happens behind closed doors and walls, and here the pair teacher-student works perfectly, and develops through the quick-paced writing of a story where the boundaries between reality and fiction become more and more faded, thus making it intriguing and engrossing. On this aspect, the movie is also a reflection on the process itself of artistic creation, which can seduce the reader or the viewer with an incredible power of attraction. A movie which certainly offers a perfect balance between suspense and entertainment, supported by a talented young and mature cast, involving the viewer till the utmost, and moving us to an unpredictable and gripping finale.

  • Fabrics of fiction and reality overlap in this voyeuristic experiment. Captivating!


    For his thirteenth feature film, French New Wave director Francois Ozon has outdone all acclaim given to his 2002 remake of "8 Women" with a mischievous and dysfunctional tale, of what can be perceived as… coming-of-age. A black comedy conflated with so much grandeur from literary greats to post-modern poioumena, you cannot help but wave the white flag and just go along in service of jest and sheer curiosity. Adapted from a brilliant play written by Juan Mayorgo, this film is a meta-narrative centered on Claude Garcia (Ernst Umhauer) -- a sixteen year old loner who intrudes upon the home life of fellow student Rapha Jr., and writes about it. What begins as a one-off weekend assignment for literature class, escalates with great passion and frequency when Claude's teacher, Germaine (Fabrice Luchini) detects flashes of talent and decides to groom the teenager. Here, Ozon proposes a three-fold narrative weaving through the surface of three realities -- Germaine's growing obsession with Claude's story imitates the viewers' relationship with Ozon's film (and perhaps soap opera addiction), and Claude as a self-conscious narrator of the events occurring inside Rapha's house. When the film begins, Claude is unhappy with a lonely life and clearly needs to distract himself with wholesome family warmth. Having witnessed Rapha's close relationship with parents Rapha Sr. and Esther at the school gate, strikes a friendship with the boy when semester begins. Establishing himself as a math tutor and study mate, Claude quickly wins their affection and trust. Thrilled by this opportunity to experience life with a sense of belonging, yet predisposed to primitive urge, Claude's desire swells into furtive yearning for Esther. And naturally, things get complicated. As Germaine's involvement with Claude's writing departs from passive reader, to that of a story-telling coach superimposing rules of dramatic structure, it occurs to the viewer that he may very well be a shaping hand in the outcome of this voyeuristic experiment. Of course, the fabrics of fiction and reality overlap but they do not confuse -- the satirical logic unfolds in ways that are thought- provoking, humorous and downright captivating.

  • Almost Like An Irresistible Novel Which You Never Wanna Put Down!


    Francois Ozon's latest film is almost like an irresistible novel which you never wanna put down. The different ways in which he develops the characters is quite fascinating to watch. Germain is a bored French professor who finds most of his students uninteresting or untalented. Then he becomes infatuated with a student's (Claude) essays, which are about a friend's family's life to which Claude has got a way into. Both their infatuations and fascinations make them take interesting actions which lead to almost disastrous consequences. The final scene makes you wonder whether you too, like Germain, get the same voyeuristic pleasure watching others' intimate lives unfold in front you. Ozon's movies have some some sort of charm which always keep you hooked till the end. I remember enjoying his last movie, Potiche; but unlike his last movie, this one is quite thought-provoking and gives various dimensions to character-development.

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