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FRANTZAfilmbyFrançoisOzon
113minutes|France,Germany|2016|PG-13|2.35:1 InFrenchandGermanwithEnglishSubtitles
OfficialWebsite:http://www.musicboxfilms.com/frantz
PressMaterials:http://www.musicboxfilms.com/frantz-pressNewYork/NationalPressContacts:SophieGluck&AssociatesSophieGluck:[email protected]|212-595-2432AimeeMorris:[email protected]|212-595-2432LosAngelesPressContacts:MarinaBaileyFilmPublicityMarinaBailey:[email protected]|323-962-7511DinaMakhlouf:[email protected]|323-962-7511MusicBoxFilmsContactsMarketingandSocialMedia BeckySchultz|[email protected]|312-508-5360RegionalPublicity BiancaCostello|[email protected]|312-508-5362TheatricalBooking BrianAndreotti|[email protected]|312-508-5361 ExhibitionMaterials DavidCook|[email protected]|312-508-5363
*ThankyoufornotrevealingAdrien’ssecret*
FESTIVALS&AWARDSWinner-BestCinematography(PascalMarti),42ndCésarAwardsWinner-MarcelloMastroianniAwardforBestYoungActress(PaulaBeer),2016VeniceFilmFestivalWinner-GrandJuryPrizeforBestPerformanceInternationalNarrative(PaulaBeer)&BestInternationalNarrative,2017GasparillaInternationalFilmFestivalOfficialSelection-2017FilmSocietyofLincolnCenter'sRendez-VouswithFrenchCinemaSpotlightSelection-2017SundanceFilmFestivalOfficialSelection-2016TellurideFilmFestivalOfficialSelection-2016TorontoInternationalFilmFestival SUMMARYSetinGermanyandFranceintheimmediateaftermathoftheFirstWorldWar,(1914-1918),Frantzrecallsthemourningperiodthatfollowsgreatnationaltragediesasseenthroughtheeyesofthewar’s“lostgeneration”:Anna(21year-oldPaulaBeerinabreakthroughperformance),abereftyoungGermanwomanwhosefiancé,Frantz,waskilledduringtrenchwarfare,andAdrien(PierreNiney,YvesSaintLaurent),aFrenchveteranofthewarwhoshowsupmysteriouslyinhertown,placingflowersonFrantz’sgrave.Adrien'spresenceismetwithresistancebythesmallcommunitystillreelingfromGermany’sdefeat,yetAnnagraduallygetsclosertothehandsomeandmelancholyyoungman,asshelearnsofhisdeepfriendshipwithFrantz,conjuredupinevocativeflashbacks. WhatfollowsisasurprisingexplorationofhowOzon'scharacters’wrestlewiththeirconflictingfeelings-survivor’sguilt,angeratone’slosses,theoverridingdesireforhappinessdespiteeverythingthathascomebefore,andthelongingforsexual,romanticandfamilialattachments.Ozondrewhisinspirationfromapost-WWIplaybyMauriceRostandthatinspiredthe1932filmadaptionbyErnstLubitschunderthetitleBrokenLullaby. LOGLINEAhauntingtaleofloveandreconciliationbeginsinasmalltowninGermanyintheimmediateaftermathofWorldWarIwhenayoungwomanmourningthedeathofherfiancéencountersamysteriousFrenchmanlayingflowersonherbeloved’sgrave.
INTERVIEWWITHFRANÇOISOZONWhatmadeyouwanttomakeFRANTZ?In a period obsessed with truth and transparency, I've been wanting to do a film about lies. As a student andadmirerofEricRohmer,I'vealwaysfoundliestobeexcitingfodderforstorytellingandfilmmaking.SoIwasmullingitoverwhenafriendtoldmeaboutaplaywrittenbyMauriceRostandrightafterWorldWarI.Iinvestigatedfurtherandlearnedthattheplayhadbeenadaptedforthecinemain1931byErnstLubitschunderthetitleBrokenLullaby.Myfirstreactionwastoscraptheidea.HowcouldItopLubitsch?!Whatmadeyouchangeyourmind?SeeingLubitsch's filmreassuredme. It's similar to theplayand takes thepointofviewof theyoungFrenchman,whereas Iwanted to take thepointof viewof theyoungwomanwho, like theaudience,doesn't knowwhy thisFrenchmanismourningatherfiancé'sgrave.Intheplayandthefilm,weknowhissecretfromthebeginning,afteralongconfessionscenewithapriest. Iwasmoreinterestedintheliethantheguilt.Lubitsch'sfilmisbeautifulandwellworthseeingthroughtheprismofthepacifist, idealisticcontextofthepost-warera.I includedseveralofhisscenes.It'shisleastwell-knownfilm,hisonlydrama,anditbombedattheboxoffice.Hisdirectionisadmirableandhighlyinventiveasalways.Butit'sthefilmofanAmericandirectorofGermandescentwhodidn'tknowasecondworldwarwasloomingonthehorizon.Hemadeanoptimisticfilmofreconciliation.TheFirstWorldWarwassuchabloodbaththatmanypoliticiansandartistsinFranceandGermanyspokeoutloudlyforpacifism."Neveragain!"Myapproach,asaFrenchmanwhodidnotexperienceeitherofthosetwowars,wasobviouslygoingtobedifferent.Youaddedawholesecondparttotheoriginalstory.IntheplayandtheLubitschfilm,the lie isneverrevealedtotheparentsandtheFrenchmanisaccepted intothefamily.Hetakestheplaceofthedeadson,playsviolinforthem,andtheendingisahappyone.Inmyfilm,Adrienalsotriestobecomepartofthefamilybutatacertainpoint,hislieandhisguiltweightooheavilyon him and he tells Anna everything. In contrast to the Lubitsch film, Anna can only accept his lie after a longpersonaljourney,whichIexploreinthissecondpartandwhichbeginswithAdrienleavingandAnnafallingintoadepression.Unusuallyforamelodrama,AdriendoesnotfallinlovewithAnna.Orifhedoes,he'sunabletofaceuptoit.AnnaandAdriensharethelossofFrantz,butcantheysharefeelingsoflove?Annathinkssoatfirst,butwhenshelearnsthetruthitsuddenlyseemsimpossible.Shegraduallystartstobelieveinitagain,butthenshe'sconfrontedwithanotherreality inFrance.ThebeautifulthingaboutAnnaisherblindness.SheknowswhatAdrienhasdone,butwhathurtshermost isherrepresseddesireforhim,soultimatelyshegoestofindhim,wantingtobelieveintheirlovedespiteeverything.Adrien'sdesire,ontheotherhand,isnevercleartohim.Iwantedtoplaywithclassicmelodramaticthemeslikeguiltandforgiveness,thenveerintoade-synchronizationoffeelings.AsheinventsafriendshipwithFrantz,Adrienseemstobegrapplingwithsomekindofdesireforhim.AsAnnasaystoAdrien'smother,"I'mnottheonetormentingyourson.It'sFrantz."Frantz,theGermansoldierbutalsoFrantz,hisalterego,someonewhomighthavebeenhisfriendorperhapsevenhislover."Don'tbeafraidtomakeushappy,"saysFrantz'smothertoAdrien,encouraginghimtoplaytheviolinforthem.Frantz'sparentswantsobadlytoopentheirarmstoAdrien,tobelieveinthefictionalFranco-GermanfriendshipandthepossibilitythatAdriencouldreplacetheirdeadson,thattheysubconsciouslyacceptthelie.Itallstartswithamisunderstanding.Adriensurrenderstoit,anditturnsouttobeawayforhimtogettoknowFrantz.Theliemakes
themallfeelbetter.It'saliethatheals.Thishappensalotwithgrief-youtakemuchneededcomfortandpleasureintalkingaboutthepersoninidealizedterms.ForAdrien,givingFrantz'slovedonesthispleasureisalsoawayforhimtotemporarilyassuagehisguilt.Adrienisacomplexcharacter.Adrienisatormentedyoungman.He'slost.Lostinhisdesires,lostinhisguilt,lostinhisfamily.Weknowverylittleabouthiminthebeginning.He'squitemysterious.Asthefilmprogresses,Annaisincreasinglydisappointedinhim.Thetraumaofwarhaslefthimpowerless.Helackscourageandislanguishinginaneurosishecannotescape.Hisobsession,orlove,forFrantzhasbecometoxicandhe'swallowinginit.Inacertainsense,AnnaonlytrulybeginstomournforFrantzafterAdrienleavesGermany.Sheplacesaframedpictureofhimonhisgraveandslipsintoadepression.Upuntilthen,AnnawasbeingstrongforFrantz'sparents.AtonepointFrantz'sfathersaystoher,"WhenwelostFrantz,youhelpedussurvive.Nowit'sourturn."ButAdrien's lieandhisdeparturebringAnna'spainbacktothesurface,andthistime,theabandonmentfeelsmorecruel.Perhapsinpartbecauseit'smoreeroticwithAdrien.Annaisnotjustworkingthroughhergriefandtowardforgiveness,she'salsodiscoveringandlearningaboutlove.ThescriptisdesignedlikeaBildungsroman,acomingofagestory.IttakesusnotintoaworldofdreamsorescapebutratherfollowsAnna'ssentimentaleducationandillustratesherdisillusionmentwithreality,liesanddesireinthemannerofariteofpassage.AnnawassupposedtobewithFrantz.Theirswasaromantic,youthful love,perhapsevenoneofconvenience,neverconsummated.Theflamewasdoused,thensuddenly,miraculously,alongcomesanotherPrinceCharming.This time, it'smorepassionate.Adrien isnot the rightpersoneither,but throughhim,Annawilldelveintosomeoflife'sbigthemes(death,love,hatred,alterity).ThebeginningofthefilmfocusesonAnna.WewatchherasshegoesbackandforthbetweenFrantz'sgraveandherhouse.Ilovetofilmpeoplegoingfromoneplacetoanother.It'saconcretewayofsuggestingacharacter'sjourney,anditplaces the film and its protagonists in a geographical setting. I needed to show that small German town, theitinerariesbetweenthehouse,thecemeteryandtheGasthaus.WatchingAnnagoingfromplacetoplace,wethinkaboutherandbegintounderstandherprogression.Inthebeginning,Annaisbasicallytreadingwater,goingaroundincirclesinthatlittletown.Thensheembarksuponherbigvoyage,theonethattakeshertoFrance,andbeyondappearances.FRANTZfeaturesmanyofyourthemes–grief,asinUNDERTHESAND;theambiguouspleasureofstorytelling,asinINTHEHOUSE;thesentimentaleducationofayoungwoman,asinYOUNG&BEAUTIFUL…Butyou'realsoexploringmanynewthings.Subconsciously,alotofmyobsessionsnodoubtcreptintothisfilm.Buttacklingtheminadifferentlanguage,withdifferentactors, inplacesotherthanFrance, forcesmetoreinventmyselfandhopefullygivesthosethemesnewpower,anewdimension.Therewerea lotofexcitingchallenges inthisfilm. I'dneverfilmedwarbefore,abattlescene,asmallGermantown,Parisinblackandwhite,inGerman...ItwasveryimportanttometotellthisstoryfromaGermanpointofview,fromthelosingside,throughtheeyesofthosewhowerehumiliatedbytheTreatyofVersailles,so Icould illustratehowGermanyat that timewas fertilegroundforspreadingnationalism.We'veseenevidenceofyourinterestinGermanybefore,inWATERDROPSONBURNINGROCKS,adaptedfromaFassbinderplay.GermanyisthefirstforeigncountryIwenttoasachildandI'veretainedafascinationforit,alongwithapersistent
interestinitslanguage,historyandculture.ForalongwhileI'vebeenwantingtoexplorethefraternalbondthesetwoEuropeanpeoplesshare,thefriendshipbetweenthem.Thisfilmprovidedtheperfectopportunity.IspeakGermanwellenoughtoholdaconversationanddirectmycastandcrew.Beyondthat,Itrustedtheactors,Iaskedthemforhelpandadvicewiththedialogue.Theywereverycooperative.Howdidyougoaboutrecreatingthehistoricalcontext?VerydifferentlythaninANGEL,whereIsoughttocreatetheworldofmyyoungheroine'simagination,herdreamworld.ForFRANTZ,therewasnodeliberateattemptatstylization.Onthecontrary,wehadtoanchorthedecorinrealism.Theperiodisidealforthat,becausetherearesomanyphotographsandfilmsfromthetime.ButIsoonrealizedthebudgetwould not allow to me to attain the level of historical accuracy I was aiming for. While scouting locations with myproduction designer Michel Barthélémy, we found many interesting possibilities but they all required expensiveinterventions.Thenoneday,Igottheideaofswitchingthephotoswe'dtakenintoblackandwhite.Miraculously,allofourlocationssuddenlyworkedbeautifullyand,ironically,wealsogainedagreaterlevelofrealismandveracity,sinceallofourreferencesfromtheperiodwereinblackandwhite.Itwasanartisticandbudgetarychoicethattheproducershadsomedifficultyaccepting,butintheendIthinkthefilmreallybenefitsfromit.Whatmadeyoudecidetoinjectcolorintocertainscenes?Workinginblackandwhiteforthefirsttimewasanexcitingchallenge,butitwasalsoheartbreaking,asmynaturaltendencyistoemphasizecolorandtechnicolor.Itwasthusdifficultformetogiveupcolorincertainlocationsandscenes. Especially the scene in nature, where they walk to the lake, which is a reference to German RomanticpainterCasparDavidFriedrich.SoIdecidedtousecolorasadramaticelementinflashbacksandcertainscenesoflyingor happiness, to suggest life bleeding back into this gray period of mourning. As blood runs through veins, colorirrigatestheblackandwhiteofthefilm.WheredidyoushoottheGermanpartofthefilm?WewererightinthemiddleofGermany,about200kilometersfromBerlin,inQuedlinburgandWernigerodeforthesmalltownandGörlitz,atthePolishborder,forthecemetery.AllarelocatedinformerGDRandhavestayedprettymuch as they were. They didn't suffer much damage and haven't been renovated like somany towns inWestGermany.HowdidyoufindPaulaBeer?IheldauditionsinGermanyandmetmanyyoungactresses.Paulahadamischievoussparkandatthesametime,possessedacertainmelancholy.Shewasquiteyoung,only20,butheractingwasverymature.Shecouldembodyboththeinnocenceofagirlandthepowerofawoman.Shehasanimpressiverangeandtheabilitytoimmediatelybringacharactertolife.Andshe'sincrediblyphotogenic.AndPierreNiney?I'dbeenstruckbyhisvivacityandquirkycharmin18YEARSOLDANDRISINGandwasimpressedwithhistheatrework at La Comédie Française and his performance in the title role of YVES SAINT-LAURENT. Pierre is a greatcharacteractorwithanextremelybroadrange.He'sanaturalatcomedy,he'sgotgreatcomictiming.Buthe'sjustascomfortableplayingdramatic,torturedroles,whichwasimportantforAdrien.He'salsogotsomethingquiterareinactorshisage:he'snotafraidtoshowhisfeminineside,hisvulnerability,hisflaws,bothinhisvoiceandinthewayhemoves.HowdidyouchoosetheGermanparents?I'd seen Ernst Stötzner,who plays the father, in a film byHans-Christian Schmid. I love his face and the naturalauthority thatemanates fromhisphysiqueandhisvoice.Withhiswhitebeard,he representsGermanauthority,
rigorandseverity.Watchinghiminblackandwhite, Isometimesgotthe impressionIwaswatchinganactor inaDreyerfilm,orMaxvonSydowinaBergmanfilm.To compensate for the rectitude and rigidity of the father, I needed to find a very different actress to play themother,someonewhoemanatedmaternalwarmth,someonemorehuman,moreLatin.MarieGruberwastrulyarevelation.Ilovehervoice,herkindness,herspirit,herexpressiveness.SheremindsmeofGiuliettaMasina.AndJohannvonBülowintheroleofKreutz?He's got the thankless role of the "bad guy" in the film. He represents theGerman petite bourgeoisiewho feelhumiliatedandarebecoming increasinglynationalistic intheirhunger forrevenge.Atthesametime,he's in lovewithAnnaand suffersatbeing rejected. Johannwasperfect.Hehas thenecessary subtletyandambiguityasanactortoportrayallofthiswithoutlapsingintocaricature.AndforAdrien'smother?Iwantedastrikinglybeautifulwomantoplaythisaristocratwho isabitofaspiderandacastratingmother.Wesenseshe'snobody'sfool.She'sspunherwebandismanipulatingthosearoundher.Shewantsatallcoststokeephersonforherselfandgethimawayfromthe"littleGermangirl."CyrielleClairdidabeautifuljobportrayingboththenatural,frostyeleganceofthecharacterandtheincestuouslovelurkingbeneath.Adrien'sfiancéeFannyisabitofasuffragette.Fannyisanambiguouscharacter.Wedon'tknowquitewhattomakeofher.Shemayseemfragileandlikeable,butsheknowswhatshewants,andthat'stohangontoherman.She'snoshrinkingviolet.Herclothingandhairstyleare tomboyish and farmoremodern than Anna's. Anna feels like a country bumpkin in comparison, evenmoreforeign,relegatedtoherimageas"thelittleGermangirl."Thefilmislikeahouseofmirrors.ItjuxtaposesAnnaandFanny,FranceandGermany,Frantz'shouseandAdrien'schateau,thepatrioticanthemsofthetwocountries,etc.TellusalittleaboutPhilippeRombi'sscore.There is a starkness at the beginning of the film, both dramatically andmusically. Themusic is used sparingly,discreetlyhighlightingdramatictensions.Graduallythemoodgrowsmoreromantictoaccompanythebuddinglovestory,Anna'shopes,andthenherdisillusions.Themusicfollowsherjourney,withoccasionalromanticswellsinthespiritofcomposersfromtheperiodlikeMahlerandDebussy.WhataboutthegivennameFrantz,whichalsogivesthefilmitstitle?Itcamenaturally,likeanechothatsoundslikeFrance.InGermanthenameisspelledwithoutthe"t"-atypicalFrenchmistake.TheGermanswerecharmedandamused,so I decided not to correct it. I told myself that Frantz had added the "t" himself because he was such a bigFrancophile.Attheendofthefilm,thoughAnnaperpetuatesthelietoprotectFrantz'sparents,she'sthroughwithpretenseasshecontemplatesanotherformoflie-art-inManet'sLeSuicidé.Itwasimportanttometoendonthatpainting.Art isalsoa lie;anattempttomakesufferingbearable.But it'sanoblelie,avirtuallie,aliethatcanhelpuslive.Rostand'splaymentionsaCourbetpaintingofaboywithhisheadthrownback.IlookedthroughCourbet'swork,buteverythingIfoundwastooromantic,notviolentenoughformytaste.Then,whileresearchingpaintingsofthedead,IranacrossthisobscureManetpaintingcalledLeSuicidé.It'sincrediblymodern. After showing it in black andwhite, I reveal it in all its colors, notably the red of the bloodstainingthewhiteshirtofthesuicidevictim.Incolor,thepaintingtakesonitsfullforce,remindingusofthetragedybetweenFrantzandAdrienandofthewholemorbidpost-warperiod,withitstwomilliondeadinFranceandthreemilliondeadinGermany,anditsmutilated,psychologicallytraumatizedsurvivors,temptedbysuicide.
Itwascrucialtomethatweshouldfeeltheweightoftheperiod'shistory.Annahadtoconfrontthatpainting,whichevokes thathistory (even though in reality thepaintingwasdone in1881and illustrates a suicideofpassion). Itbringseverythingintofocus."Itmakesmewanttolive,"saysAnnaasshegazesatit.Ilovetheironyofthat.Confrontedwiththispaintingofasuicidevictim,Annahasfinallyreachedtheothersideofthemirror, inspiteofthewar,thedrama,thedead,thelies.She'sgrownup,surmountedadversity,takenalongjourneyandacquiredagreatdealof strength.ThroughFrantzandAdrien, shehasgrieved fora lost loveandanimaginarylove.Nowmaybeshecanmeetandlovetherightperson.
INTERVIEWWITHPIERRENINEYWhatwasyourreactiontothescriptforFRANTZ?Igotcaughtupinthestoryandalltheliesthatkeptleadingmedownthewrongtrack.Thescriptliestousjustasthecharactersinthefilmcontinuouslylietoeachother.IwasallthemoresurprisedbecauseIwasn'texpectingastory likethis fromFrançoisOzon. Iwas fascinatedbythe ideathata liecanberedemptiveordestructive.And ItookaninstantlikingtomycharacterAdrien,theimpossiblelovestoryandthe"classic"styleofthefilm,inwhichthelatentnationalismofthepost-warperioddrawsarealparallelwithwhat'sgoingonrightnow.TellusaboutyourfirstmeetingwithFrançoisOzon.
Itwasverystraightforward.Wereadthroughthescreenplay.Wewereworkingtogetherfromtheget-go.Françoishasaverypersonalvisionbuthe'salsoquitelucidaboutwhatworksandwhatdoesn't.Ienjoyedthatfirstreading.Isensed that despite its formal structure, the script was organic and could evolve according to our sharedimpressionsanddesires.AndPaulaBeer?Wemetduringadayofscreentests.Therewereanumberofactresses.WeweredoingthelakesceneinGermanyandtheabortedkissattheendofthefilm.Paulareallystoodout.Shehadthegraceandsincerityofhercharacter.She'sagreatactress.Herworkinthefilmisremarkableandstayswithuslongafterwards.She'ssoclassyanddown-to-earth,andverydirectinheracting.Workingwithherwaseasyandinspiring.Howdidyouapproachyourcharacter?I seeAdrienasa sensitiveyoungmanwhohasbeenbrokenby thewar. Ihad toconvey thecharacter'smysterythrough physicalmanifestations of his tortured, vulnerable state. Itwas a veritable tightropewalk to keep fromrevealing too much in the first part of the film while always bearing in mind the enormous trauma he hadexperienced.Beforeandduringtheshoot,IspentalotoftimestudyingEgonSchiele'spaintings.There'sapaininhisportraitsofyoungmenthat spoke tomeofAdrien.The rolewasachallenge. Ihad to learn toplayviolin, speakGerman... andwaltz! The violinwasparticularly hard. The threepieces I had toplaywere all quite difficult, andFrançoisinsistedonfilmingbothofmyhands,thefingeringandthebowatthesametime.Iworkedextensivelywithacoachinordertoachievethefinalresult.WhatwasitlikeactinginGerman?Acting in Germanwas also a real challenge. Paula Beer helpedme a lot. I was working on another film beforeFRANTZbeganshooting,andwhenIhaddowntimeonthatset,I'dlistenonmyiPodtorecordingsofmylinesthatshe'dmade forme. Thatwas truly thebest. Shehas a lovely soft voice and she's anexcellent actress. Itwas soinspiring,andperfect for tacklinga language that tends tohaveabad reputation in termsof its soundand flow.ActinginGermanturnedouttobearealpleasure.OneofthescenesImostenjoyeddoingistheonewhereAdrientellsthestoryofhisimaginedvisittotheLouvrewithFrantz.ItcreatesastrongbondbetweentheFrenchmanandtheGerman,whichisalsooneofthesubjectsofthefilm."Don'tbeafraidtomakeushappy,"saysFrantz'smothertoAdrien,encouraginghimtoplayviolinforthem.Howwouldyouanalyzethatstatement?That'soneofthereasonsAdrienislyingtothem.TheHoffmeisterfamilyandAnnahaveaclearneedforloveandlifeinthistimeofpainandgrief.That'swhatpushesAdrientoconcocthisfriendshipwithhisvictim.Hefeelsaneedtogivethemthatgift,tomakethemhappyagain.Heliestothemtobringthembacktolife,evenforjustaninstant.Ifoundthissalutaryviewoflyingverycompelling.FrantzisthesourceofAdrien'sguiltbutperhapshehasalsoawakenedahomosexualdesireinAdrien.Howdidyouapproachyourcharacter'sambiguity?I loved thatambiguityand tried to inject littledetailsover thecourseof the film toget theaudiencewonderingabout the nature of Adrien's feelings for Frantz. He has experienced real trauma and grown to love Frantz. Is itbrotherly love? Or is it a mirror effect, because he could see his own anguish in Frantz's eyes? Or could it bepassionate love?Oneofthefilm'sgreatstrengths ishow,beneath itsclassicalbeauty, itkeepsusguessingaboutAdrien. Right up to the end, with hismother and fiancée in France.What are their intentions? Is themother'sbehaviorwithregardtohersonmalevolent?Togetintotherole,didyoudoanyresearchonthatgenerationofyoungmenwhoweresacrificedonthe
battlefieldsofWW1?TomorefullyunderstandAdrien'strauma,IplungedbackintowhatIknewhadbeenahorrificwar.ArchivesbearpowerfulwitnesstothephysicalandpsychologicaldamagedonetobothGermanandFrenchsoldiersintheGreatWar.LikeAdrien,vastnumbersofveryyoungsoldierswerehurtledintothewar'sterrifyingviolence.Iwasmovedtolearn that the absurdity and horror of that war occasionally became so clear to them that they would holdspontaneousceasefiresinthetrenches.Thefilmalsoposesthequestion:Howcananationsenditspacifistsonstotheirdeaths?TellusaboutworkingwithFrançoisOzon.IlovethewayFrançoisworks.He'ssoattentivetotheactors.Heworksquicklytoleavetimefortheacting,sowefeelfortunateandworkhardinreturn.Ilovethewayhestayswithusduringthescenes.Firstofall,heframeshisown shots - he's not sitting in a nearby tent gazing into a screen. He's got his eyes on us andmurmurs gentlesuggestionswhile thecamera's rolling: "Closeyoureyes", "Lookather"... Sometimes it felt like rehearsing in thetheatre,whereeverything'sopenandanything'spossible.Adrienisabitlikeaghost.Hewasn'tkilledinthewar,butsomethinginsidehimhasdied.Maybehisabilitytolove?I thinkhestillhasthatability.HesaysasmuchwhenheconfessestoAnna inthecemetery.GettingaglimpseofFrantz's life andmeetinghis family and fiancéehasmadehim love Frantz all themore.Anna too, indirectly andawkwardly,asevidencedbytheirfirstandlastkissatthetrainstationattheend.He'sattractedtoher.Hecanseethepotentialforthemtofallinlove.Buthe'sbroken,heknowsthewronghehasdoneandcanneverforgetit.Hefeelsloveforher,buthewon'tlethimselfsurrendertoit.Thefactthathe'sgonehometohismotherandisgoingtomarryhischildhoodfriendisperhapsaformofatonement,apunishmentheinflictsonhimself.Ilovehowthefilmofferssomanypossibilitiesandraisessomanyquestionsabout the truemotivationsofeachcharacter,eventhesecondaryones. INTERVIEWWITHPAULABEERTellusaboutyourfirstmeetingwithFrançoisOzon.Iwasonvacationwhentheproductioncompanycontactedme.Threedayslater,theysentmetwoscenesandthenextdayIdidtheaudition.Ididn'tknowthescriptanditwasmyfirstauditioninFrench,soitwasquiteunnerving.ButassoonasIwaswithFrançois,everythingwentfine.Wehititoffwell.Weworkedonthetwoscenestogetherandhetoldmeaboutthestory,Anna,andthefilmhewantedtomake.Twoweekslater,IwasinParisforanauditionwithPierreNiney.Andafewdaysafterthat,FrançoiscalledtotellmeI'dbeplayingAnna.Whatwasyourreactiontothescript?It'sexcitingtoreadascriptwhenyouknowyou'llbeplayingaparticularcharacter.Iwasextremelymovedbythe
storyandtheimportantthemesittouchesupon-honesty,love,loss,lies,lettinggo,determination,thewilltolive-all subtly rendered,withapalpable feelingofvulnerabilityandyetacertain lightnessseeping into the friendshipbetweenAnnaandAdrien, adding to its complexity.Anna'spersonal growth is amazing. In thebeginning she's aquietpersonwho,afterthedeathofherfiancé,iskindofadrift.WhenshemeetsAdrien,sherediscoversthejoiedevivreshe'dfeltbeforeFrantzdiedandtrulyblooms,makingtheblowdeliveredwhenshelearnsthetruthhurtallthemore.Then,inthesecondpartofthestory,shegoesontodevelopremarkablestrength.Iwassohappytoplaythiswonderfulrole.Howdidyoupreparetoplayacharacterwholearnsaboutloveandbecomesawoman?Anna evolves a great deal in the story, so it was important forme to understand the different stages she's goingthrough.Howdidthewarchangeherlife?Whatwasshelikebefore?WhatisAdrien'seffectonher?Whatdesiresisheawakening?Itwascriticalformetounderstandherrelationshipswiththosearoundher,thepainshe'dfeltsinceFrantzdiedand,incontrast,herdesiretoliveandloveagain.OneimportantstageforAnnabeginswhenAdrientellsherthetruth.Yes,andit'sanunimaginableshockforher.Shedecidestospareherin-lawsthatpainandcarriestheburdenofthelieandtheheavyresponsibilitythatcomeswithitallonherown.It'sacrucialmomentthatraisesmanyquestions.WhyissheprotectingAdrien?WhatwasitlikeshootinginFrance?Itwaswonderful.It'ssubtlydifferentthanonGermanshoots,it'shardtoexplain.Itwassuchagreatpleasure.Thecrewwasfantastic!As soon as we began to rehearse, I could tell acting in French was going to be a big challenge for me. I'veexperienced so little in that language, andmy body doesn't react the sameway to French words as it does toGermanwords.IworkedhardatachievinganemotionalconnectionsoIcouldbefreewithmyacting,evenwhiledeliveringwrittenlines.HowdoesFrançoisOzondirecthisactors?Idiscoveredawholenewmethodofworking.Françoisgotmeveryinvolvedearlyon,duringthepreparationstage.Hewouldaskmyopinion,howIfeltaboutmycharacterandthestory.Ithinkthatwashiswayofshowingmehetrustedme,whichmademefeel freeraswewent intotheshoot. Ididn't realize it rightaway,but Iwasactuallyquiteunsettledbytheamountoffreedomhegaveme.Butwesoonfoundawaytocommunicateandtheworkgoteasierandwasveryenjoyable.Didhehaveyouwatchanyparticularfilms?HeaskedustowatchHaneke'sTHEWHITERIBBONtogetusintotheharsh,strictcontextofthetime,andKazan'sSPLENDORINTHEGRASSbecauseit'saveryromanticstory.Thetwoyoungloversarebeautifultogether.Françoisnodoubthopedtocapturesomethingoftheiryouthfulfervor,feverishlove,powerfuldesireandtherisingtensionastheoutsideworld interferes. IthinkFrançoissoughttocombinethevisionsofthesetwoverydifferentfilmsinFRANTZ.Whatwasitlikeworkingwiththeotheractors?It was wonderful working with Ernst Stötzner andMarie Gruber, two amazing actors who are also such sweetpeople.Ifeltliketheywereprotectingme.Likeparents!AnditwasfascinatingtoworkwithPierreNiney,whocancommunicatesomanythingswithjusttheslightestchangeofexpression.Actingwithsuchfinesseistrulyanart.
PierreandIactedintandem,aswedidwitheachoftheotheractors.Weformedarealteam,eachofusconjuringuprealemotionstobringourcharacterstolife.Inthatsense,IthinkFRANTZisaveryhonestfilm.JustlikeAnna!Indeed,Annaistheonlyonewhoreachesapointwheresheembracesthetruthandconfrontsherdesires.WhenAdrienkissesheratthetrainstationattheend,doyouthinkhe,too,isfinallyreadytoacceptthetruthoftheirfeelingsforeachother?IreallywonderwhetherAnnastilldesireshim.I'mnotsure.Ithinkshe'sgrownuptoomuchforAdrien.Hesparkedherdesire,shewasmovedbyhim,shefell in loveandembarkedona longjourneytofindhimagain. Infact,herjourneywassolongshewentpasthim!OfcoursewhenshefindsAdrien'sfamilyshe'shappytoseehimagain,butsomethingdoesn'tquitegelbetweenthem.Adrienisstuckinhissituation,he'snotstrongenoughtogetout.AndAnnahasherlifetolive.WhatdoesManet'spaintingLeSuicidé meantoyou?Inthisstory,Adrienhaskilledapartofhimself,andthatpaintingevokeshissymbolicsuicide.IloveManet,andartfromthatperiodingeneral.LeSuicidéisprovocativeandheavywithmeaning,butitalsohasthesensitivityoftheImpressionists.Ilovethatcombination."Itmakesmewanttolive,"saysAnnaasshegazesatit.Thatcommentiswideopentointerpretation.IthinkAnnaissayingthatevenwhensomeoneorsomethinghasdied,youcanstillbe likethePhoenixandrisefromtheashes.She'ddone itherselfwhenshewashalf-deadandthen,thankstoAdrien,foundthestrengthandthewilltocomebacktolifeandmakethattriptoFrance.Attheendofthefilm, Anna has learned so much. She's completely transformed. She's a new woman, ready to set out for newhorizons.
INTERVIEWWITHERNSTSTÖTZNERDidyouknowthefilmsofFrançoisOzon?Yes, I'dseen5X2,WATERDROPSONBURNINGROCKSandSEETHESEAandreally likedthem.Iwasverytouchedthatheofferedmetherole.AndIwasmovedbythescreenplay.IfeltlikeIwasreadingaJulienGreennovel,likeAdrienneMesurat,aboutawomanwhosepowerfulfeelingsofloveareburieddeepwithinher,shecan'texternalizethem.Thecharacters inFRANTZalsohavestrongfeelingsburieddeepwithin, feelingstheyareunabletoexpressbecausethey'veshutdown.Especiallyyourcharacter,atleastatthebeginningofthefilm.Yes, it's impossible for that father to talkabout thepainhe feelsathaving losthis son. It'sas thoughhisown lifehasended.Andyethemustgoonliving.Buthow?Youcanneverrecoverfromthedeathofachild.Then,suddenly,withthearrivalofAdrienandthepossibilitythathemayonedaybeAnna'snewlove,thefatherfeelshopefulagain.Adrien'sarrivalopensupawholenewrangeofpossibilities.Thankstohim,thefamilycanbegintoexpresswhatthey'refeelingandstart
livingagain.HowdidyoufeelaboutFrançoisOzonapproachingthestoryfromaGermanpointofview?Iwastouchedbythat,ofcourse!It'saveryinterestingperiod,especiallywhenseenthroughtheeyesofanoutsider,andinthewaythatFrançoisdoesit.FRANTZisafilmabouttheguiltofageneration.It'sallthemorecriticalthatweexaminethatgenerationastheonethatfollowedit-myparentsgeneration-wasthatofNaziGermany.Howdidyouapproachyourrole?IfeellikeI'vebeencarryingthisstoryinsidemeforever.WhenIwasyoung,IreadalotofbooksabouttheFirstandSecondWorldWarsinanattempttounderstandhowmyparents'generationcould'vegottentothatpoint. IwastryingtofigureoutwhoIwas,tryingtounderstandhowIwould'vereacted.Sothisrolecameverynaturallytome.It'sapartofwho Iam. I felt I knewhowtoplay thecharacterbefore Ievenbegan, likeamelodyyou'vealwaysknownthatsuddenlycomesbacktoyou.Thefilm'ssubjectmatteriscertainlydaunting,butIhadtheperspectiveofmygeneration.Iknowitwon'thappentome.WhatwasitlikeworkingwithFrançoisOzon?ItwasthefirsttimeI'dworkedwithaFrenchfilmmaker.Itwasveryunusual,especiallyaswewereshootingonfilm,whichhasbecomequiterare.Ihadn'tactedinfrontofa35mmcamerainalongtime.AndFrançoisisalwaysbehindthecamera,heframeshisownshots.Idon'tremembereverseeingadirectordothatbefore!Whatdoesthatchange?It'smoredirect.Usuallyyou'returningtoanotherperson-thecameraman-toseeifitwasgood.Thecameramanoftenmakesmoreofanimpressiononyouthanthedirector.WithFrançoistheywereoneandthesameperson.Hewastrulythefilm'seye!Howdoeshedirecthisactors?Françoisdoesn'tsaymuch.He'samanoffewwords,theoccasionalyesorno.It'sallaboutsubtletywithhim-theway you say aword, a slight change in your intonation. Itmay not seem important, but suddenly he'll suspendeverything,openupnewpossibilities. It'sverypowerful.Françoisplayswithnuances inawaythat letsyouknowwhenhe'sfeelingwhatyou'retryingtoexpress.That'sreallynice.Whenyou'reanactor,you'reneversurewhetherwhatyou'refeelinginsideiscomingacross.WithFrançois,youknow!Atthebeginningyouembodythefatherfigure,authority,rigor...then,slowly,yourcharacterbecomesmorehuman.Youthinkso?Good!Mycharacterisverywithdrawn,that'shistemperament.Allthosetimesyouseehimopeningup,thatwasthankstoFrançois.Hecoaxeditoutwithsmalldetails.Iwashappylikeakidinacandystore,makingthisfilm.SometimesIworriedImightbebehavingquiteunprofessionally!AndworkingwithPaulaBeer,MarieGruberandPierreNiney?Wefeltcloserightaway.EspeciallyPaula,MarieandI.Fromthemomentwemet,MariewasmywifeandPaulawasmydeadson'sfiancée.Icouldn'thelpfeelingwewerefamily.IidentifiedwithmyroletosuchanextentthatitfeltdifferentwithPierre.Pierre/Adrienwastheforeigner,separatefromus.SoIneverfeltthesamebondwithhimthatIfeltwith"myfamilymembers!"AdrienandFrantz'sfatherarelikemagnets.They'rebothattractedtoandwaryofeachother.It'shardforanactortoseparatelifefromtherole.Beyondacertainpointyoucan'tcontrolitanymore.Everythinggetsmixedup.
FILMOGRAPHIESFRANÇOISOZON(Director)2016 FRANTZ2014 THENEWGIRLFRIEND2013 YOUNG&BEAUTIFUL2012 INTHEHOUSE2010 POTICHE THEREFUGE2008 RICKY2007 ANGEL2006 ACURTAINRAISER(short)2005 TIMETOLEAVE2004 5x22003 SWIMMINGPOOL2002 8WOMEN2001 UNDERTHESAND2000 WATERDROPSONBURNINGROCKS1999 CRIMINALLOVERS1998 SITCOM1997 SEETHESEAPIERRENINEY(Adrien)2016 THEODYSSEY FRANTZ FIVE2015 INSIDEOUT ALTAMIRA2014 APERFECTMAN YVESSAINT-LAURENT2013 ITBOY2011 JUSTLIKEBROTHERS THESNOWSOFKILIMANJARO 18YEARSOLDANDRISING2010 LAFONTEDESGLACES(short) ROMANTICANONYMOUS BLACKHEAVEN2009 BICI,LAMUSEETMITRAILLETTE2008 LOL THEUNDERCOVERWAR2007 SCHOOL’SOUT PAULABEER(Anna)2016 FRANTZ2015 4KINGS2014 THEDARKVALLEY2013 THETASTEOFAPPLESEEDS2012 LUDWIGII2010 POLL
ERNSTSTÖTZNER(Hoffmeister)2016 FRANTZ BIENVENUEINMEINEMNEUNLEBEN ALONEINBERLIN2015 BECKSLETZERSOMMER2013 SILENTSUMMER MYSISTERS2012 HOMEFORTHEWEEKEND2011 SUMMERWINDOW2010 THECOMINGDAYS2009 THISISLOVE2006 KLIMT2004 ZWISCHENNACHTUNDTAG2003 DIEKLASSEVON‘992000 THELONELISNESSOFTHECROCODILES1995 UNDERGROUND1992 UNDERGROUND1989 SPIDER’SWEB1983 CLASSENEMY
CASTAdrien PierreNiney
Anna PaulaBeer
Hoffmeister ErnstStötzner
Magda MarieGruber
Kreutz JohannVonBülow
Frantz AntonVonLucke
Adrien'smother Cyrielle
ClairFanny AliceDeLencquesaing
CREWWrittenanddirectedby FrançoisOzon
Looselybasedon BrokenLullabybyErnstLubitsch
Incollaborationwith PhilippePiazzo
Producedby Eric&NicolasAltmayer
Co-producedby StefanArndt&UweSchott
DirectorofPhotography PascalMarti
ProductionDesign MichelBarthélémy
CostumeDesign PascalineChavanne
HeadMakeupArtist LiliRametta
HeadHairstylist Franck-PascalAlquinet
GermanCasting SimoneBär
FrenchCasting SarahTeper&LeïlaFournier
ExtrasandBitPartsCasting AnaïsDuran
OriginalScore PhilippeRombi
Editor LaureGardette
SoundEngineer MartinBoisseau
SoundEditor BenoîtGargonne
SoundMixer Jean-PaulHurier
ProductionManager AudeCathelin
FirstAssistant MathieuSchiffman
ScriptSupervisor LydiaBigard
Stillsphotographer Jean-ClaudeMoireau
Painting LeSuicidébyEdouardManetPoem Chansond’AutomnebyPaulVerlaineAboutMusicBoxFilmsFoundedin2007,MusicBoxFilmsisaNorthAmericandistributorofacclaimedinternational,Americanindependentanddocumentaryfeatures.RecentreleasesincludeAnneFontaine’sWorldWarIIdramaTHEINNOCENTSandtheofficialSwedishOscarsubmissionforBestForeignLanguageFilmAMANCALLEDOVE,basedontheinternationalbestsellingnovel.UpcomingreleasesincludeTerenceDavies’AQUIETPASSIONstarringCynthiaNixon.MusicBoxFilmsisindependentlyownedandoperatedtheSouthportMusicBoxCorporation,whichalsoownsandoperatestheMusicBoxTheatre,Chicago’spremierevenueforindependentandforeignfilms.Formoreinformation,pleasevisitwww.musicboxfilms.com.
