Back in 1999, when François Ozon was as yet a venturesome arising voice in French film, he culled an unproduced stage piece from the Rainer Werner Fassbinder documents – composed when the incomparable German terrible kid was only 19 – and made the nervy parody of relationship elements, Water Drops on Consuming Rocks. Considering that a portion of the play’s topics would advance and be refined in later Fassbinder works, eminently The Severe Tears of Petra von Kant, it appears to be totally fitting that over twenty years after the fact, Ozon refashions that source into another energetically dramatic exercise, transforming the tormented lesbian sentiment into a whimsical interpretation of gay male obsession.The result, named Peter von Kant, appears to be nearly custom to open the Berlin Film Celebration, with its underlying foundations in German film history and its lavish praise to one of the country’s most revolutionary twentieth century auteurs, who passed on in 1982 matured only 36. Ozon’s film is charged as “unreservedly adjusted” from the Fassbinder, yet generally, it’s strikingly devoted. All things considered, the French producer has a lot of made it his own, messing around with the material with an esprit that has been significantly muffled in more dismal late excursions like By the Beauty of God and All that Went Fine.The suffering impact of Petra von Kant – Olivier Assayas riffed on it with the stage play at the focal point of Billows of Sils Maria and Peter Strickland drew motivation for The Duke of Burgundy – is amazing considering the first film holds up less well than most other exemplary Fassbinders. It managed lesbian enthusiasm way back in 1972, however was never a staggering top pick of strange ladies and has frequently been called sexist. It hitched Fassbinder’s foundations in trial theater to his dramatic revelation of the colorful dramas of Douglas Sirk, and thus, it currently plays as curve, unnatural camp, though with an enthusiastic hostility that infrequently draws blood.
Ozon embraces the ingenuity however has relaxed it a considerable amount, persuading a more lived-in flexibility from his entertainers, eminently a great Denis Ménochet as the title character – his similarity to Fassbinder on occasion uncanny. This von Kant has additionally changed vocations from style originator in the first to fruitful movie chief here, permitting Ozon to ponder the specific types of enticement, self image back rub and love-disdain love among cineaste and muse.Peter’s most noteworthy revelation, and presently his associate, Sidonie, is played with wry mindfulness by Isabelle Adjani, enclosed by white fur, gold lamé and the obscure genuineness of a dear companion truly just paying special attention to herself. Whenever he turns on her, as he does basically everybody late in the activity, she reacts with amusingly performative injured shock: “I’m a star, but at the same time I’m human.” Adjani likewise recorded a hoarse German-language rendition of “Each Man Kills the Thing He Loves,” the tune turned from Oscar Wilde’s words that was performed by Jeanne Moreau in Fassbinder’s Querelle. It’s one of a modest bunch of records Peter tosses onto the turntable, typically while losing himself before.