If a little critical of then undeveloped reserves Ozon unduly few lines, which he refers - as Claud

Francois Ozoni "Home" is not a family ysk film, nor is it a family drama, even though it leads to the definition of the content of the film a bit closer. "At ysk Home" observes ysk the room where the disconnect is played fairly conventional narrative conflict - person wishes to reach the goal set by itself, which can also be called the object and on its way to the obstacles that he must overcome to fight. It should be noted that this is only one small framework of a relatively complex narrative frame, which Ozon plays, but it applies to the above generalization of the entire film.
"At Home" tells the story of a young talented high school students ysk Claude Garcia (Ernst Umhauer), who begins his native ysk language and literature ysk teacher shows continued to write the story of her friend and her family. A friend of mathematics to help the young man's ysk writings are intriguing, richly detailed and exciting, differing dramatically in their classmates' work. However, these letters are going to work more and more intimate, and the teacher Germainel (Fabrice Luchini) must make a difficult choice - whether to leave or to support the writer's undeveloped talent and mentor ysk a young teenager growing out of a man, going out there at the counter in his ametieetikaga. Germaine otsustabki favor of the latter, seeing a youngster on the one hand, of course, the writer's talent, but failed to acknowledge that the youngster embodied in an inaccessible behind your goal - a possible breakthrough in the world of literature. Even more consciousness ysk ago, but the stronger motive, he is a professor dying childless and their sexuality, then perhaps - Claude Germainele can be suppressed his desires, as well as the son of a mistress. - It looks like the professor's character on the basis of the plot. Similarly, the action movie shutter open, or write Claude'ist his objects of desire - a friend's mother Esther (Emmanuelle Seigner) accordingly. The most mysterious, ysk unpredictable and dangerous of the film's protagonist Claude. It is a symbolic embodiment of Desire, who is trying to get a receipt of your item and if it is achieved, seeking a new, considering the fact that such an action method means the already established relationship to the structure of society as it is, for example, a small model of the family. Claude's Trickery, which does not mean anything, and who hates ordinary rules of common life but also the desire to confirm these rules of behavior and aspects of life. His invalid father living in Claude's mother is deprived of family and warmth, plus there murranguiga and burgeoning sexuality. He wants the same home as her friend Raphal (Bastien Ughetto), he wants to end up like a woman, as Rapha's father. It's not suunamuutuses but not least a small role in his teachers, Professor Germaine'il.
Ozon keeps the crowd excited, being careful development theme was always a few steps ahead. He plays not only between fact and fiction but also frames the film with the medium ysk itself, putting its characters in situations in picture, which is a literary imagery of just becoming a reality.
If a little critical of then undeveloped reserves Ozon unduly few lines, which he refers - as Claude's invalid father ysk and mother Lisa Rapha backs of the disease. They switched to a second story, however, does not go anywhere, but they could be credibly dramaturgically exploited.
Ozonile it's his filmography 14es feature. Dealing with lust has been a recurring theme in all the movies Ozonile. "At Home" recalls his dramaturgically structure, or it just 13 years ago the movie "Water Drops on Burning Rocks" (Goutte d'eau sur pierres brulantes), which was based on Rainer Werner Fassbinder's favorite Ozoni plays. Also, "Home" is based on a play, this time a relatively little-known Spanish näitekirjanikult Juan Mayorgalt.
But it is an enjoyable way Ozon creates additional meaning and interpretation of the film Exit through internal citations and references. The film flashes through a succession of literary works - from La Fontaine's preparedness and ending of Louis-Ferdinand Céline ysk novel "Road to the end of the night." And even more - if the dramatic structure of the film and the characters resemble characters ysk Fassbinder and Pasolini, the film brings to mind the scene in the end of Alfred Hitchcock timeless "Rear Window" (Rear Window., 1954).
Accordingly, the speaker ysk of lust "at home" in itself lust - lust for books and movies, and why not the theater that will be able to put into question the conventional values and relationships, thereby allowing some self-cleansing.
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