This interview has been edited by Linda Marric for length and clarity
In his latest film, When Autumn Falls (2024), prolific French filmmaker François Ozon continues his exploration of intricate human dynamics with electric storytelling and sharp satirical humour. Set in a picturesque Burgundy village, the narrative centres on Michelle (Helene Vincent), a retired grandmother who anticipates a visit from her daughter and grandson. An innocent mistake disrupts her plans, triggering a series of unintended events that intertwine the past and present, challenging familial bonds and personal convictions.
The film showcases Ozon’s signature storytelling style, once again blending elements of drama and dark humour to delve into the complexities of ageing, family, and the unforeseen consequences of seemingly trivial actions.
We were delighted to speak to the director of 8 Women (2002), Swimming Pool (2003), Potiche (2010), Frantz (2016) and countless other titles – he wrote and directed 24 films in as many years – about his his work processes and tireless passion for filmmaking.
HEYUGUYS: Congratulations on your movie. It has such an interesting premise. Where did the idea come from? I understand it’s based on a family story. Is that right?
François Ozon : Absolutely, yes. I had a great aunt whom I loved dearly. She once organised a family meal, picking mushrooms from the forest near her house. Everyone who ate them got sick—some even had to go to the hospital—except for her, because she cooked the mushrooms but didn’t eat them. I wasn’t there at the time; I only heard the story later as a child.
I was always a very inquisitive child, and I became fascinated by the idea that maybe, just maybe, my aunt had deliberately tried to harm the family. I was intrigued by the contrast between her perfect grandmotherly appearance and the possibility that she harboured darker intentions. That contrast inspired me to explore the complicated and toxic relationship between a mother and a daughter.
We never know if her actions were unconscious—what we call in French un acte manqué (a Freudian slip in action)— or if there was real intent behind them. I wanted to maintain that ambiguity, and it became the perfect starting point for the story.
HUG: Speaking of ambiguity, it plays a significant role in two key events involving Michelle. Did you enjoy playing with that uncertainty?
FO: Yes, absolutely. I knew exactly what happened in those moments, but I chose not to reveal everything.
HUG: I see. When writing a script, you have to explore all possibilities, but you also have to decide what to show the audience.
FO: Exactly. I wanted to keep the story within Michelle’s point of view. Regarding her daughter’s death, for example, she wasn’t in Paris at the time. So, I only show part of the story, not the full scene between Vincent and Valérie. To me, it was obvious that I didn’t need to show everything because I trust the intelligence of the audience. They can imagine and interpret things for themselves.
The audience is placed in the same position as Michelle—she doesn’t know if it was murder or suicide. In a way, she chooses not to dwell on it. What matters to her is her grandson. She knows she may only have ten, maybe five years left to live, and she wants to make the most of that time with him. So, she prefers to “sweep it under the rug,” as you say in English.
HUG: Let’s talk about Hélène Vincent. You worked with her before on Grâce à Dieu, I believe. What made you want to cast her in this role?
FO: It was an obvious choice. First of all, she’s an incredibly charming and tender person. When I first worked with her, I told her the story of my script, and she started crying.
I was surprised and asked, “What’s wrong?” She said, “It’s my life.” She’s very emotional, very connected to her roles. I told her, “Okay, you have the part—no need to cry.”
This time, I wanted to give her a leading role, and she carries the entire film on her shoulders. In some ways, she relates to the character—she lives alone in Burgundy, loves the countryside, and understands isolation. She doesn’t have a daughter, but perhaps she’s experienced difficult relationships in her life. At the same time, she had to embody a certain coldness and toughness in the role, which was a fascinating transformation. It was a joy to direct her.
HUG: I also loved that you cast Josiane Balasko. Since she’s also a director, was there any creative exchange between you two?
FO: I love working with actors who are also directors because they understand filmmaking from both perspectives. With Josiane, there’s no need for lengthy explanations—she gets it right away.
She’s also very funny, which is a gift. Even in dark or emotionally heavy scenes, she brings a sense of humour. It creates a great atmosphere on set and adds nuance to her performance.
HUG: This is your 24th film in under 25 years—that’s incredible. You’ve essentially made a film a year since you started directing, along with shorts. Where do you find the time to both write and direct at this pace?
FO: I love to work. Some journalists ask me, “When do you live?” But to me, making films is living—perhaps even more intensely than real life. The emotions, the relationships, everything is heightened.
When I get tired, I’ll stop. But for now, I still find joy in every part of the process—writing, working with actors, collaborating with technicians, editing. It’s all exciting. The only part I don’t love is promotion, but that’s part of the job too.
I never have writer’s block. I follow my instincts. One day, an idea comes—a line, a face, a story—and it lingers in my mind. I start working on it, and suddenly, it becomes a film.
HUG: Do you ever work on multiple ideas at once?
Director: No, I can’t. New ideas usually come after I finish editing a film.
For example, after The Crime Is Mine, which was a comedy with two young women in a very artificial world, I wanted to do something completely different—an intimate drama about older women in nature. I often move in the opposite direction from my previous work.
HUG: That makes sense. You’re one of the few French directors whose films consistently reach UK audiences. Is that an important market for you?
FO: It’s not something I control, but I’m grateful that my films are released in the UK. I know it’s difficult now because so many French films don’t get UK distribution anymore. That’s a shame, but I’m lucky.
HUG: In the 1990s, French films were hugely popular in the UK. Half the box office seemed to be French cinema. Do you think we need to make an effort to rebuild that connection?
FO: What can I do? That’s up to you, the British audience. I do think something broke between France and England after Brexit.
Before, European funding helped cinema and cultural exchanges. Now, it’s harder. Of course, you still have a Minister of Culture…
HUG: We have a Secretary for Culture which is kinda similar.
FO: But isn’t everything private now?
HUG: Not entirely. They seem to be making an effort.
FO: In France, we’re fortunate. Our government has created a strong system for financing cinema. That’s why so many first-time directors and female filmmakers can make their films.
I don’t think I could have made so many films if I were working in another country. I’m lucky to be part of a system that values cinema.
HUG: Thank you so much for your time. Congratulations again! Keep making films, and we’ll keep watching them.
FO: Thank you!
When Autumn Falls in is cinemas nationwide from Friday March 21st
