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Frantz is a slightly over-polite and overly careful, and the black and white palette is unappealingly washed out – more like a collection of greys. But the sense of festering postwar anger and pain is strong, and there are intriguing questions here.
A fine bilingual cast, haunting period detail and a provocative approach to a twisting story carry the day.
Beer and Niney do solid work, but their sensitive efforts can’t quite breathe life into a story that no longer seems terribly relevant.