By Calum Marsh
By Michelle Orange
By Michael Atkinson
By Simon Abrams
By Zachary Wigon
By Aaron Hillis
By Casey Burchby
By Stephanie Zacharek
Elliptically structured, the film has an unhurried pace that adds to the tension and the pathos. Like Dreamlife of Angels, Seulhas a vivid sense of place. Zonca's Paris is a bustling, warm city filled with energetic people who think nothing of freezing out a 20-year-old incapable of fending for herself.
Even at his best, as in the elegant psychological-horror film See the Sea, François Ozon lacks the subtlety of Zonca. Sitcom, a macabre domestic comedy that's getting a release after a year on the festival circuit, is something of a French surburban reworking of Freud's Totem and Taboo. The totem animal is a large white laboratory rat that the father brings home and whose presence liberates the id of every person with whom it comes in contactexcept the one with whom it's most closely identified. Because the conceit is not convincing, the pileup of perversitiesfrom incest to sadomasochism to cannibalismseems like an exercise in épater le bourgeois. Ozon has a flamboyant sense of style, which he uses to mean-spirited ends.
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