For a film that moves at a deliberate pace, Frantz grows remarkably involving; Mr. Ozon is a formidable storyteller, as he has previously demonstrated in such films as “Under the Sand” and “Swimming Pool.”
The way in which Ozon again uses mirror images, which reveal the similarities between the French and the Germans just after the war, or the way Fanny and Anna come to possibly mirror each other again suggest that a master storyteller is at work.
Frantz is arguably one of the straightest films Ozon has made – in both the dramatic and the sexual senses – but his complex sensibilities and fine-tuned irony are very evident in a mature work that transcends genre pastiche to be intellectually stimulating and emotionally satisfying.
In a small German town after World War I, Anna mourns daily at the grave of her fiancé Frantz, killed in battle in France. One day a young Frenchman, Adrien, also lays flowers at the grave. His presence so soon after the German defeat ignites passions.