B R I E F   S Y N O P S I S
In his first English-language film, French writer/director François Ozon (8 Women, Under the Sand) revisits the suspense genre of his debut feature See the Sea. Sarah Morton (Charlotte Rampling), a famous British mystery author seeking inspiration for her new novel, accepts her publisher's offer to stay at his home in the South of France. The country locale and unhurried pace is just the tonic for her—until his French daughter Julie (Ludivine Sagnier) unexpectedly arrives. Their interaction unduly influences Sarah's creative process, as Sarah finds herself drawn into a real-life mystery that Julie embodies.
  My Father's Camera

Between the desire of cinema and creating cinema, there is often a gulf that is difficult to cross. For me, the transition happened quite naturally in the form of an apprenticeship and was not particularly painful.

Between eighteen and twenty-two, I shot around thirty shorts on Super-8. Those films were made under simple conditions, under the influence of the ones my father made throughout my childhood on our family and on his trips to India.

They moved me a lot because they made me feel like I was at the movies. While he was projecting the images, my father would recount and explain (in voice-over) what we were seeing. Images of dead cows and dead hippopotamuses floating on the Ganges, where carefree children were playing, had a deep impact on me, and I understood very early that you did not need a lot of money or equipment to make films, to tell a story, to convey feelings and emotions. So I appropriated his camera and I took over.

The other influence was Joseph Morder's classes at the Sorbonne. They centered on Super-8 as a cinematic practice, for economic as well as aesthetic reasons. I remember he once asked us to bring in family movies so that we could analyze them like real films. I brought the one of my aunt's wedding where I was best man, alongside my sister. After he watched my father's movie, which showed the procession through the village, he enthusiastically and relevantly compared it to Jean Vigo's wedding in L'Atalante. Paradoxically, instead of overwhelming me, that reference encouraged me to carry on with my little films. Morder had just shown us that directing did not depend on having a lot of equipment but on a keen eye, and that my father, with his framing, his cutting and his assembly, was able to match Jean Vigo's directing. These absolving remarks made me feel free to try anything and gave me the energy I needed to make my own films.

From then on, once a month, after I graduated from high school, with a budget of about 300 francs (US$50) per film (the price of the film itself), I shot something like thirty films on Super-8. Having my family, my friends or my lovers play in them, I learned how to prepare wordless stories under minimal conditions, and I discovered the fears and the pleasures that accompany directing, which have never left me since.


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