Under the Sand

seaside obsession
In some respects, "Under the Sand" reminded me of George Sluizer's "The Vanishing." Like the obsessive, tormented Rex, who launches a three year search for his abducted girlfriend, Ozon's Marie refuses to believe that her husband, who vanishes from a beach while on vacation, is dead. She holds imaginary conversations with him and sets a place for him at the dinner table as if he were still alive. Yet there is still a margin of reasonable doubt about the husband's fate. Charlotte Rampling's portrayal of the increasingly unhinged Marie is excellent. Pay careful attention to the ending: it holds an important clue integral to the movie's denouement.

One of Ozon's true masterpieces!
The director once again dives into human's soul. And the result is an extraordinary portrait of grief, that hounts you for days after you've watched the movie... And you MUST see Ozon's Time to leave (the next chapter in his death-themed trilogy)!

Superb Storytelling
Although it may seem there is a whole lot of nothing much going on in this film, what little that is going on says volumes about life for all of us. The acting is the finest I have ever seen in a long time on film; the cinematography is skillfully and artistically executed, propelling the ambiences, thoughts, and feelings of the various characters. The audience gets a real sense of the characters, as some of them struggle to accept reality, others being supportive and understanding while some are harsh and judgmental, others too young to understand etc. etc. Watch this one for the superb acting, poetic cinematography, and a simple story that explores a fact of life that not too many movies try to do.

A good film
I could see why many consider this to be one of Francois Ozon's best films. It is good. You just have to be in the right frame of mine to appreciate it. Charlotte Rampling does a good job interpreting the lead character and the settings are wonderfully shot. It is a film about loss and how at times we cope with it unrealistically. It's a REAL kind of film.

Life, Death, Grieving, Loss and Coping
François Ozon is a rare director, one who takes a simple story, places it in the eyes and bodies of his cast, and simply lets the tale tell itself. SOUS LE SABLE (UNDER THE SAND) is an unforgettable film experience that probes deeply into our psyches, hearts, and reason: how do we cope with sudden death? Opening quietly in the French countryside, a loving middle-aged couple begins a brief vacation in a family house, quietly and lovingly going about removing dustcovers, opening shuttered windows - settling in for a time of being alone together. Marie (Charlotte Rampling) is a professor of English in Paris (her specialty is Virginia Woolf) and Jean (Bruno Cremer) is her retired husband. Their long-term love is palpable: Ozon provides almost no dialogue, as none is needed to establish this special relationship, so powerful is the non-verbal communication between Rampling and Cremer. They visit the beach the next day and while Marie is sunbathing, Jean goes for a swim - and never returns. Marie searches for him, engages lifeguards, and ultimately returns to Paris, trembling but intact. Months later, while Jean is never found, we see Marie reacting as though he still exists. She visualizes him in various situations and the two actors (yes, Jean is present in these scenes) interact as though nothing has changed. But Marie's friends note with great concern that she is 'delusional' and make various attempts for her to seek professional and emotional help. When news eventually arrives that Jean's body has been found, she internally denies this possibility but eventually returns to the vacation house town to identify the bloated corpse. Even at this point, though obviously in shock, she denies that the corpse is that of her beloved Jean. She walks back to the site where she last saw Jean and in the distance a figure rekindles her hope... Charlotte Rampling delivers a performance wholly committed. She communicates the spectrum of feelings of this challenged strong woman with her eyes, her gazes in the mirror, her interaction with her class of students, her friends, her admirer with such power that makes her Marie a wholly credible creature stricken by loss yet surviving in her chosen manner. It is one of the great performances of cinema. The entire small cast of this film is perfection. Ozon is a magical director and continues to prove he is one of the most honest and quietly powerful figures in today's cinema. Highly recommended. Grady Harp, July 05