Tout s'est bien passé

A stroke leaves André half paralyzed, hardly being able to talk or eat. His chances of getting better are close to zero. Struggling with both self-pity and anger, he decides to end his life. But he cannot put himself out of his misery alone, he needs his daughters’ help. On paper, François Ozon’s latest character study reads like a routine French art house drama, but surprisingly the film takes a swift turn into more eccentric territories.
Based on an autobiographical memoir by former Ozon collaborator Emmanuèle Bernheim (1955-2017), TOUT S’EST BIEN PASSÉ sees the stylistically ever volatile director exploring the boundary region between farce and tragedy. Under the surface of a conventional drama on medically assisted suicide lurks a quirky (and rather morbid) upper class family comedy; in a way, Ozon is returning to the freshness of one of his early successes in the form of SITCOM, but 23 years on he is a much more assured storyteller, capable of more intricate emotional nuances. Sophie Marceau and Géraldine Pailhas as the skeptical sisters carry the weight of the ethical debate, while a superb André Dussollier grabs his chance to ham it up as the egocentric dad pestering his offspring until the very end. (Stefan Grissemann)

François Ozon: REGARDE LA MER (1997), SITCOM (1998), LES AMANTS CRIMINELS (1999), GOUTTES D’EAU SUR PIERRES BRÛLANTES (2000), SOUS LE SABLE (2000), 8 FEMMES (2002), SWIMMING POOL (2003), 5X2 (2004), LE TEMPS QUI RESTE (2005), ANGEL (2007), UN LEVER DE RIDEAU ET AUTRES HISTOIRES (2007), RICKY (2009), POTICHE (2010), DANS LA MAISON (2012), JEUNE ET JOLIE (2013), UNE NOUVELLE AMIE (2014), FRANTZ (2016), L’AMANT DOUBLE (2017), GRÂCE À DIEU (2018), ETÉ 85 (2020), PETER VON KANT (2021)