Everything Went Fine (Tout s'est bien passé)
France, 2021 / 113 min / French OV / Drama
A vibrant portrait of a businessman who, weakened by a stroke, asks his daughter to help him die.
When 85-year-old André has a stroke, Emmanuèle hurries to her father’s bedside. Sick and half-paralysed in his hospital bed, he asks Emmanuèle to help him end his life. But how can you honour such a request when it is coming from your own father who used to love life? For Emmanuèle, her strong-willed father’s demand brings back memories from years of a thorny relationship. And as she risks falling foul of French law – and given her dad’s tendency to talk too much – her loved ones end up trying to put a block on her plans.
Acclaimed director François Ozon and cult actress Sophie Marceau are teaming up for the first time, bringing to the screen a moving father-daughter story.
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|Wed||01/09||19:30||Ciné Utopia||FR OV||Public||https://kinepolis.lu/en/films/lux-film-lab-tout-sest-bien-passe|
“François Ozon gets back to basics exploring death and euthanasia by way of a simple, realistic and modestly restrained family portrait which will resonate with many. […] The subject of death has already formed the focus of various other films by François, but the director has never approached it so directly, dissecting the process with expert use of ellipses […] and a level of drama which is perfectly suited to a small and ‘normal’ family.” Fabien Lemercier, Cineuropa, 7/07/2021
“What ensues is more a tricky period of negotiation, heavy on the banal practicalities of ending a life, revealing much gallows humor amid the rougher emotional labor. […] as a film about death, “Everything Went Fine” almost seems as grown-up and detached as André would like the whole ordeal to be, beginning with the brisk irony of that title. But life inevitably throws up messier emotional barriers to the best (or worst) laid plans: No man is an island, and no man, it turns out, can die on one either.” Guy Lodge, Variety, 7/07/2021
“André is a curious character, selfish in many ways but also uncompromising. Dussollier plays that double edge with a mischievous glint in his eye that erases sentimentality. Ozon can be an invigoratingly playful filmmaker but the virtue perhaps less appreciated about the prolific director’s work is its efficiency. His adaptation of Bernheim’s book is notable for the laser focus of its short, pared-down scenes, making this a social issues film more interested in subtly observed personal responses and family dynamics than the bigger ethical questions raised. Considering the subject matter, ‘Everything Went Fine’ is not the most affecting drama, but its honesty and intelligence keep you glued. […] The crisply shot film is characterized by its elegant simplicity, by the way it lays out something still widely perceived as a radical course of action while refusing to engage in hand-wringing. Instead, it quietly makes the case that everyone should have the right to end a life that has become unendurable. Dussollier deserves credit for declining to soften André’s abrasive edges, but the center of the drama is Marceau’s welcome return after a few years of relative quiet. She gives Emmanuèle a tough pragmatism that makes her moments of visible pain quite moving.” David Rooney, The Hollywood Reporter, 7/07/2021
“François Ozon has brought a tremendous understated confidence and artistry to this very affecting film about euthanasia and assisted dying. There is a robust unsentimentality here, encapsulated by the throwaway gesture in the title itself. […] Could it be that this whole final act of André’s life is just another example of his wealthy entitlement, his arrogance? After all, the film shows us that he is not in unbearable pain and the quality of his life has not diminished catastrophically. He has just had enough; and has no intention of discussing it, debating it, or coercing our consent by being emotional about it. And in its way, this film has precisely the same attitude. Another type of drama would put the issue-led handwringing at the centre of things. Not this film. It is just the hinge on which the family drama turns, and the performances from Dussollier and Marceau are quietly outstanding.” Peter Bradshaw, The Guardian, 7/07/2021
“François Ozon’s latest is an elegant, classically humanist illustration of a percolating controversy in French society. […] The film proceeds at a quick clip but, impressively, doesn’t feel like it’s sacrificing time with the characters in favor of plot. Ozon precisely chooses and arranges emblematic moments that stand in for longer periods of time and contribute to a sense that we know these individuals. An impressive ensemble of actors […] also helps.” Pat Brown, Slant Magazine, 8/07/2021
“The dilemmas about the end of life and assisted dying are brought in to soft focus by director François Ozon, who makes what could have been an impossibly painful subject more palatable but nonetheless affecting. It helps, of course, that he has a thoroughly professional cast who knowingly lead us through the emotional dynamics in a way that spares none of the anguish yet provides sparks of comfort and illuminating perspectives. André Dussollier perfectly incarnates the curmudgeonly 85-year-old […] who is used to getting his own way … and why at the moment of death change the habits of a lifetime?” Richard Mowe, Eye for Film, 4/08/2021
François Ozon is a French director and screenwriter born in Paris in 1967. After graduating in film from the Sorbonne, he studied directing at La Fémis film school from 1990 to 1993 before becoming one of France’s most renowned filmmakers. After directing several short films, he made a name for himself with his first feature, the family farce Sitcom (1998). In 2002, his dark murder mystery musical 8 Women premiered at the Berlinale where it won the Silver Bear for the best artistic contribution, making Ozon a household name outside of France. His follow-up film, Swimming Pool (2003) premiered in Cannes. François Ozon returned to Berlin several times, including in 2012 when he sat on the Jury of the 62nd Berlinale and in 2019 when his drama By the Grace of God – tackling sexual abuse in the Catholic Church – won the Silver Bear Grand Jury Prize. Four of his films, Swimming Pool, Young & Beautiful (2013), Double Lover (2017), as well as his latest feature, Everything Went Fine (2021), were nominated for the Palme d’Or in Cannes.
- 2021 – Tout s’est bien passé
- 2020 – Été 85
- 2018 – Grâce à Dieu
- 2017 – L’amant double
- 2016 – Frantz
- 2014 – Une nouvelle amie
- 2013 – Jeune & jolie
- 2012 – Dans la maison
- 2010 – Potiche
- 2009 – Le refuge
- 2009 – Ricky
- 2007 – Angel
- 2007 – Quand la peur dévore l’âme (short)
- 2006 – Un lever de rideau (short)
- 2005 – Le temps qui reste
- 2004 – 5x2
- 2003 – Swimming Pool
- 2002 – 8 femmes
- 2000 – Sous le sable
- 2000 – Gouttes d’eau sur pierres brûlantes
- 1999 – Les amants criminels
- 1998 – Sitcom
- 1998 – X2000 (short)
- 1998 – Scènes de lit (short)
- 1997 – Regarde la mer (short)
- 1997 – Les puceaux (short)
- 1996 – Une robe d’été (short)
- 1996 – L’homme idéal (short)
- 1995 – La petite mort (short)
- 1995 – Jospin s’éclaire (documentary)
- 1994 – Une rose entre nous (short)
- 1994 – Action vérité (short)
- 1993 – Victor (short)
- 1992 – Thomas reconstitué (short)
- 1991 – Deux plus un (short)
- 1991 – Le trou madame (short)
- 1991 – Peau contre peau (short)
- 1991 – Une goutte de sang (short)
- 1990 – Mes parents un jour d’été (short)
- 1988 – Les doigts dans le ventre (short)
- 1988 – Photo de famille (short)