Peter Von Kant

I haven’t seen Rainer Werner Fassbinder’s original 1972 film, The Bitter Tears of Petra Von Kant, on which François Ozon has based this, albeit in the main switched genders. My research tells me that Fassbinder had an all-female cast, while Ozon hasn’t quite gone all male. Regardless based on this version I’m in two minds whether to do so.

Opening in Koln 1972, its immediately obvious that this film will be beautiful with Peter Von Kant’s (Denis Ménochet) apartment in full colour – garish to some and sumptuous indulgence. It’s the indulgence of a successful film director who with his silent yet watchful assistant Karl (Stefan Crepon) drafts letters to Romy Schneider.

Yet there’s feeling of desperation when Kant gets very excited about an invitation from Bavaria. He’s equally excited when actress friend (whom he hasn’t seen for three years) Sidonie (Isabelle Adjani) turns up with a young very handsome man Amir (Khalil Ben Gharbia). With the subtlety of a breeze block Kant makes his intention obvious and goes further that evening when Amite is invited back for a screentest.

Moving forward six months and Amir is settled in with Kant, though the relationship is adrift. There are petty arguments, jealousy - Amir taunts Kant about his sexual exploits. He’s on the way up while Kant appears on his uppers. The inevitable happens, after a surprise call for Amir that sees him fly off.

Kant, is all over place and it all blows up at his birthday party when Sidonie, daughter Gabrielle (Aminthe Audiard) and mother (Hanna Schygulla) turn up. The only calm is Karl, silent and ever observant.

Francois Ozon’s film is certainly beautiful with the lavish interiors and even the very few exterior shots that are mainly to show the change of season as the camera focuses in on the window and back inside. With the film confined to a limited space there is a very stagey and inauthentic look to the whole thing. That’s stretches to the very wordy script and at times over-blown acting regardless of whether it’s a more tender moment or full-blown scenery chewing.

That is all probably deliberate but it makes for a very tiring watch as the characters interact. As such there’s not much empathy for any of them as they all appear to be manipulators working towards their own ends.

That is apart from Kant for whom some sympathy can be felt as he’s dumped on by various ‘friends’. This is a deep dive character study is and there’s not a lot to like about him, though towards the end there is some sadness.

My guess is this will probably be of greater interest to those who have seen Fassbinder’s film looking to compare and contrast, and Ozon completists. Others may find it just a flamboyant grind.

Peter Von Kant is available on Curzon Home Cinema and in cinemas from 30 December 2022.