• Latest
  • Trending
When Fall Is Coming Review

When Fall Is Coming Review: A Haunting Exploration of Age and Guilt

Without a Dawn Review

Without a Dawn Review: Introspection in a Cabin of Shadows

The Correspondent Review

The Correspondent Review: Richard Roxburgh’s Tour de Force

Bogieville Review

Bogieville Review: Low-Budget Ingenuity and Flawed Execution

Slow Horses

Slow Horses Rides Back on 24 September With Season 5

9 hours ago
A Minecraft Movie

SXSW Panel Reveals How Minecraft Movie Crafted a $948 M Blockbuster

9 hours ago
Ollie Madden

Netflix Poaches Film4 Chief Ollie Madden to Supercharge U.K. Movie Slate

9 hours ago
Mariska Hargitay

Hargitay’s ‘My Mom Jayne’ Lifts the Curtain on a Hollywood Tragedy

10 hours ago
Aureole – Wings of Hope Review

Aureole – Wings of Hope Review: Precision Platforming with a Divine Twist

Coastal Review

Coastal Review: Intimate Performances, Tepid Momentum

The Dark Money Game

The Dark Money Game Review: How Secret Funds Warped Democracy

Call of the Void Review

Call of the Void Review: Atmospheric Chills and Lingering Questions

Dovey's Promise Review

Dovey’s Promise Review: One Woman’s Stand Against Injustice

  • Home
  • Privacy Policy
  • Terms and Conditions
  • Gazettely Review Guidelines
Tuesday, June 3, 2025
GAZETTELY
  • Home
  • Movie and TV News
    Slow Horses

    Slow Horses Rides Back on 24 September With Season 5

    A Minecraft Movie

    SXSW Panel Reveals How Minecraft Movie Crafted a $948 M Blockbuster

    Ollie Madden

    Netflix Poaches Film4 Chief Ollie Madden to Supercharge U.K. Movie Slate

    Mariska Hargitay

    Hargitay’s ‘My Mom Jayne’ Lifts the Curtain on a Hollywood Tragedy

    frankenstein 2025

    Fans Push for Big-Screen Run After Netflix Drops Frankenstein Teaser

    Blake Lively Justin Baldoni

    Judge Faces New Twist as Lively Seeks to Trim Lawsuit Against Baldoni

    Jacob Elordi

    Elordi’s POW Drama Leads to Frankenstein and Wuthering Heights

    Paramount

    Paramount Sets July 2 Shareholder Meeting as Skydance Vote Looms

    Maggie Lawson

    Psych Alum Maggie Lawson to Lead CBS’s Boston Blue

  • Movie and TV Reviews
    The Correspondent Review

    The Correspondent Review: Richard Roxburgh’s Tour de Force

    Bogieville Review

    Bogieville Review: Low-Budget Ingenuity and Flawed Execution

    Coastal Review

    Coastal Review: Intimate Performances, Tepid Momentum

    The Dark Money Game

    The Dark Money Game Review: How Secret Funds Warped Democracy

    Call of the Void Review

    Call of the Void Review: Atmospheric Chills and Lingering Questions

    Dovey's Promise Review

    Dovey’s Promise Review: One Woman’s Stand Against Injustice

    The Balcony Movie Review

    The Balcony Movie Review: A Philosophical Perch on Human Transience

    What It Feels Like for a Girl Season 1 Review

    What It Feels Like for a Girl Season 1 Review: Before Trans Visibility Had a Name

    Bullet Train Explosion Review

    Bullet Train Explosion Review: Bureaucracy, Bombs, and the Weight of Duty

  • Game Reviews
    Without a Dawn Review

    Without a Dawn Review: Introspection in a Cabin of Shadows

    Aureole – Wings of Hope Review

    Aureole – Wings of Hope Review: Precision Platforming with a Divine Twist

    Kingdom Come: Deliverance II Brushes with Death Review

    Kingdom Come: Deliverance II Brushes with Death Review: A Painter’s Tale in Bohemia

    Kulebra and the Souls of Limbo Review

    Kulebra and the Souls of Limbo Review: Guiding Spirits with Style and Sincerity

    Blacksmith Master Review

    Blacksmith Master Review: The Satisfying Grind of Metal and Management

    Labyrinth Of The Demon King Review

    Labyrinth Of The Demon King Review: Unforgiving, Unforgettable Horror

    Cubic Odyssey Review

    Cubic Odyssey Review: An Ambitious Architect’s Space Dream

    Game of Thrones: Kingsroad Review

    Game of Thrones: Kingsroad Review: A Song of Systems and Sorrows

    To a T Review

    To a T Review: Finding Perfection in an Imperfect Shape

  • The Bests
No Result
View All Result
  • Home
  • Movie and TV News
    Slow Horses

    Slow Horses Rides Back on 24 September With Season 5

    A Minecraft Movie

    SXSW Panel Reveals How Minecraft Movie Crafted a $948 M Blockbuster

    Ollie Madden

    Netflix Poaches Film4 Chief Ollie Madden to Supercharge U.K. Movie Slate

    Mariska Hargitay

    Hargitay’s ‘My Mom Jayne’ Lifts the Curtain on a Hollywood Tragedy

    frankenstein 2025

    Fans Push for Big-Screen Run After Netflix Drops Frankenstein Teaser

    Blake Lively Justin Baldoni

    Judge Faces New Twist as Lively Seeks to Trim Lawsuit Against Baldoni

    Jacob Elordi

    Elordi’s POW Drama Leads to Frankenstein and Wuthering Heights

    Paramount

    Paramount Sets July 2 Shareholder Meeting as Skydance Vote Looms

    Maggie Lawson

    Psych Alum Maggie Lawson to Lead CBS’s Boston Blue

  • Movie and TV Reviews
    The Correspondent Review

    The Correspondent Review: Richard Roxburgh’s Tour de Force

    Bogieville Review

    Bogieville Review: Low-Budget Ingenuity and Flawed Execution

    Coastal Review

    Coastal Review: Intimate Performances, Tepid Momentum

    The Dark Money Game

    The Dark Money Game Review: How Secret Funds Warped Democracy

    Call of the Void Review

    Call of the Void Review: Atmospheric Chills and Lingering Questions

    Dovey's Promise Review

    Dovey’s Promise Review: One Woman’s Stand Against Injustice

    The Balcony Movie Review

    The Balcony Movie Review: A Philosophical Perch on Human Transience

    What It Feels Like for a Girl Season 1 Review

    What It Feels Like for a Girl Season 1 Review: Before Trans Visibility Had a Name

    Bullet Train Explosion Review

    Bullet Train Explosion Review: Bureaucracy, Bombs, and the Weight of Duty

  • Game Reviews
    Without a Dawn Review

    Without a Dawn Review: Introspection in a Cabin of Shadows

    Aureole – Wings of Hope Review

    Aureole – Wings of Hope Review: Precision Platforming with a Divine Twist

    Kingdom Come: Deliverance II Brushes with Death Review

    Kingdom Come: Deliverance II Brushes with Death Review: A Painter’s Tale in Bohemia

    Kulebra and the Souls of Limbo Review

    Kulebra and the Souls of Limbo Review: Guiding Spirits with Style and Sincerity

    Blacksmith Master Review

    Blacksmith Master Review: The Satisfying Grind of Metal and Management

    Labyrinth Of The Demon King Review

    Labyrinth Of The Demon King Review: Unforgiving, Unforgettable Horror

    Cubic Odyssey Review

    Cubic Odyssey Review: An Ambitious Architect’s Space Dream

    Game of Thrones: Kingsroad Review

    Game of Thrones: Kingsroad Review: A Song of Systems and Sorrows

    To a T Review

    To a T Review: Finding Perfection in an Imperfect Shape

  • The Bests
No Result
View All Result
GAZETTELY
No Result
View All Result
When Fall Is Coming Review

Mindcop Review: Time Pressure Meets Surreal Investigations

Afternoons of Solitude Review: A Quiet Dance Between Beauty and Brutality

Home Entertainment Movies

When Fall Is Coming Review: A Haunting Exploration of Age and Guilt

The Fragility of Time: François Ozon’s Lyrical Examination of Guilt, Family, and Redemption

Naser Nahandian by Naser Nahandian
6 months ago
in Entertainment, Movies, Reviews
Reading Time: 7 mins read
A A
0
Share on FacebookShare on TwitterShare on PinterestShare on WhatsAppShare on Telegram

When Fall Is Coming by François Ozon seems like a leaf falling through fresh, amber air, its first moments shrouded in the misleading warmth of pastoral innocence. At first glance, the film appears to settle into the rhythms of a calm, autumnal reverie—a “sweetly melancholic meditation,” if you will, on aging, family, and the quiet reckonings of life’s latter seasons. However, beneath its golden hues and knitted textures lies a darker, more uncertain core, where genres combine, and assumptions are quietly shattered.

The film’s tone, its delicate interplay of the serene and menacing, feels like a light trick—a sunbeam glinting off the surface of a shadowy pond. Ozon draws his audience into a comfortable, even quaint world, only to disclose its fractures: the grim comedy of poisoned mushrooms, the thriller’s lack of concealed blame, and the melodrama of unresolved guilt.

Each tone shift disorients, recasting the familiar as something strange and quiet. The laughter catches in the throat, and the smile becomes brittle. What begins as a tranquil reflection on domestic rituals evolves into an uncomfortable investigation of the lies we tell ourselves to maintain the appearance of peace.

Ozon’s talent lies in this musical sleight-of-hand, which capitalizes on our propensity to trust the picturesque—to believe that rustic homes and garden-sown dinners represent tranquility, not catastrophe. However, like autumn, the film’s beauty is tinged with decay, its warmth a foreshadowing of frigid inevitability. As spectators, we are lulled into one emotional register only to be jolted into another. This is a subtle yet compelling shift as the seasons themselves.

The Michelle Enigma: A Deep Dive into the Protagonist’s Character

As presented by François Ozon, Michelle emerges via the mundane poetry of her everyday rituals rather than spectacular declarations or theatrical flourishes. We meet her in the quiet sanctuary of a church pew, her face a study in tranquil detachment, as if she has grown accustomed to carrying silent burdens.

When Fall Is Coming Review

She walks through her days with controlled grace, picking vegetables from her garden, carefully cooking meals, and gently comforting her temperamental friend, Marie-Claude. Even in these seemingly innocent gestures, there is a faint, almost undetectable tension, implying that Michelle’s calm appearance is a well-maintained mask rather than a reflection of peace.

Ozon allows us to see the turbulence beneath Michelle’s tranquil façade through the fractures in her relationships. While warm and lasting, her bond with Marie-Claude is tinged with the weight of a dark past. We learn that both women were once sex workers, a fact that lingers like a faint but persistent stain on their present life.

Marie-Claude’s resentment toward her son Vincent, a man always on the verge of failure, contrasts sharply with Michelle’s forgiving demeanor. But is Michelle’s patience motivated by true compassion, or does it spring from guilt—an unseen debt she feels obligated to pay back to the world for actions she considers unforgivable?

Then there’s Valérie, Michelle’s daughter, whose bitterness permeates every meeting. Valérie’s scorn appears to stem not from a single grievance but from Michelle’s very existence—a mother whose history she cannot reconcile with her quest for moral clarity. Their dynamic is a battleground of unspoken charges, with every grin a provocation and every gesture a reprimand. Michelle, for all her quiet courage, is impotent in the face of her daughter’s criticism. Still, she bears it as if penance is her only way to redemption.

In Michelle’s relationships, Ozon portrays a woman caught between the past and the present, guilt and grace, victim and perpetrator. She is an enigma, not because she is unknown. Still, because she is so deeply human—a mosaic of contradictions, each piece expresses the unknowable intricacy of a life lived in the shadow of regret.

A Family’s Complex Web: Relationships and Dynamics

In When Fall Comes, the family is a frail web, stretched thin and gleaming with whispered frustrations rather than a shelter of warmth. Michelle is, at its heart, torn between her daughter Valérie’s caustic bitterness and her grandson Lucas’s unwavering adoration.

When Fall Is Coming Review

The dynamic between these three is more like a fractured mirror, with each connection reflecting a different version of Michelle, none of which is whole.

Valérie’s rage burns cold, her hostility toward her mother intense and relentless, as if every word carries the weight of a long-buried charge. Michelle, according to Valérie, is not only defective but also irredeemable—a woman whose past as a sex worker marred their present beyond repair.

However, this resentment feels less like moral outrage and more like an inherited pain, a generational scar that Valérie cannot reconcile. The tension between them is almost savage, a primitive struggle for power masquerading as familial talk. And yet, beneath Valérie’s brutality, there lingers a flicker of something more complicated: the daughter’s longing for a mother who may never have existed or may have existed in ways Valérie cannot forgive.

Michelle finds solace in Lucas, a blazing ember of unconditional love among the ashes of her former relationships. The boy’s innocence is a balm, his love uncontaminated by the complications of the past. Michelle is tender and playful around him, her guarded demeanor dissolving into something approximating joy. But this bond, too, is precarious—a stolen moment in a life full of loss. Lucas is not hers to keep, and the weight of this impermanence heightens their relationship.

In Ozon’s hands, these relationships become a study in contrasts: the purity of love untainted by time versus the jagged edges of love ravaged by history. Each interaction is marked by the ache of what is given and what is kept. It is a reminder that family, for all its promises of permanence, is frequently the most transient of connections.

Themes of Twilight Years: Ozon’s Exploration of Age and Beyond

When Fall Is Coming, François Ozon creates a portrait of aging that is neither romantic nor cruel but rather suspended in the quiet tension of twilight—a time when the past and present merge and life feels balanced between reflection and reckoning.

When Fall Is Coming Review

Through Michelle, Ozon explores the existential ache of growing older, where the weight of guilt is as palpable as the pangs in her bones. Her days are filled with the gentle rhythms of retirement—gardening, cooking, and attending church—but these rituals are less acts of consolation than attempts to stave off the silent invasions of memory.

Guilt follows Michelle like an unseen shadow. It lingers in her dealings with her daughter, Valérie, whose disdain appears to mirror Michelle’s hidden self-criticism. Ozon does not disparage her past as a sex worker, but its consequences ripple through her work, particularly in the quiet guilt she carries and the unbridgeable distance it causes between her and Valérie. The film implies that reconciliation in the twilight years is not always a triumph but rather a delicate negotiation—a quiet surrender to the unsolved.

Parental responsibility, too, threads its way through the narrative, not as a clear moral imperative but as an imperfect, fluctuating undertaking. Michelle’s affection for her grandson Lucas is pure and innocent, yet it contrasts sharply with her estranged bond with Valérie. Through Michelle, Ozon calls into question the notion of parental infallibility. What happens if a parent fails?

When their love, however genuine, is shaped by their flaws and histories? The film provides no easy answers, only the quiet idea that self-acceptance may be the only avenue for salvation available. In Michelle’s autumnal world, age serves as a mirror, displaying not just the lines etched by time but also the enduring, haunting truths of what has been lived and cannot be undone.

Director’s Craft: Ozon’s Signature Style in When Fall Is Coming

François Ozon’s filmmaking lives on ambiguity, and in When Fall Is Coming, his deliberate narrative omissions and enigmatic characters weave a tapestry of dread in which certainty feels as fleeting as the fall light. Like the lives it shows, the plot is plagued with fractures—intentional gaps that refuse to be filled, leaving the viewer stranded in a sea of unresolved questions.

When Fall Is Coming Review

Did Michelle’s toxic mushrooms reveal her unconscious wishes, or was it simply an innocent mistake? Was the catastrophe on Valérie’s balcony the work of fate, or was it something more intentional? Ozon defies the allure of conclusion, pushing us to stare into the emptiness and grapple with the discomfort of uncertainty. These narrative omissions reflect the complexities of human life, where motivations are ambiguous, and truths are frequently unknowable.

Within this fragile realism are faint whispers of the supernatural—ghostly apparitions that flicker on the borders of perception, their existence more of a suggestion than a tangible incursion. These ethereal touches feel more like metaphors for memory and guilt than plot devices as if Michelle’s present is haunted by a restless spirit from the past. Ozon’s restraint is crucial here; the supernatural elements are never overused, enhancing the film’s unstable undercurrent.

These decisions work together to create a tone that is both grounded and otherworldly, a quiet maelstrom of contradictions that lingers long after the final frame. Ozon creates an experience, not just a story, that feels as transient, opaque, and unavoidable as the shifting of the seasons.

Performance and Cinematography: Bringing the Story to Life

Hélène Vincent’s softly riveting performance, a restraint and emotional precision masterclass, lies at the core of When Fall Is Coming. Vincent, who plays Michelle, carries the film’s tremendous existential weight with an unpretentious grace. Her expressions are a mosaic of subtle contradictions: the warmth of love tempered by the ache of regret, the strength of survival shadowed by the fragility of guilt.

When Fall Is Coming Review

Her face, marked by the lines of age and experience, becomes a silent storyteller, revealing in a glance what words cannot. The whole measure of a woman tormented by her past but still holding, however tenuously, to the rhythms of life is revealed in the gaps between her actions—when she pauses in thinking or trembles at her uncertainty. Michelle, played by Vincent, is more than just a character; she serves as a conduit for the film’s study of identity, aging, and moral compromise.

Cinematographer Jérôme Alméras complements Vincent’s performance with a tender and relentless visual language. The fall palette—burnished golds and decaying browns—represents Michelle’s world as one continuously on the verge of disintegration, mirroring her own existential liminality. The camera lingers on subtle, tactile details such as a squash’s peeling skin, rustling leaves underfoot, and the warm glow of firelight on worn hands. These visuals lend the film a sensual closeness, anchoring its deeper philosophical topics in the textures of ordinary life.

Vincent’s performance and Alméras’ cinematography create a symbiotic interplay in which character and place blend. With its quiet, unchanging beauty, the Burgundy countryside serves as both a haven and a prison, the serenity intensifying Michelle’s inner turmoil. This partnership between actor and image adds emotional depth to Ozon’s narrative, transporting us to a beautiful and softly devastating world.

The Review

When Fall Is Coming

8 Score

When Fall Is Coming is a delicate, complex meditation on aging, guilt, and the quiet ruptures of family life, delivered with François Ozon's superb combination of ambiguity and tenderness. Hélène Vincent's nuanced performance underpins the film, while Jérôme Alméras' autumnal cinematography emphasizes its existential implications. Ozon creates a sad and sympathetic story by blending black comedy, thriller, and melodrama, prompting audiences to ponder the fragility of human bonds and the inevitability of time. While the solutions are purposefully ambiguous, the film lingers like a bittersweet, fleeting, and unforgettable dying season.

PROS

  • Hélène Vincent’s magnetic, layered performance as Michelle.
  • Gorgeous, evocative cinematography capturing autumn’s beauty and decay.
  • Skillful genre-blending (black comedy, thriller, melodrama) that keeps the audience intrigued.
  • Thought-provoking exploration of aging, guilt, and redemption.
  • Subtle, restrained inclusion of supernatural elements to deepen the narrative.

CONS

  • Some may find the intentional ambiguity frustrating or unsatisfying.
  • The slow pacing and understated tone may alienate viewers expecting more dramatic tension.
  • The daughter-mother conflict, while compelling, occasionally feels underexplored.

Review Breakdown

  • Overall 0
Tags: Diaphana DistributionDramaFeaturedFrançois OzonHélène VincentJosiane BalaskoLudivine SagnierPierre LottinSophie GuilleminWhen Fall Is Coming
Previous Post

Mindcop Review: Time Pressure Meets Surreal Investigations

Next Post

Afternoons of Solitude Review: A Quiet Dance Between Beauty and Brutality

Try AI Movie Recommender

Gazettely AI Movie Recommender

This Week's Top Reads

  • Mountainhead Review

    Mountainhead Review: Deepfakes and Deep Trouble

    1 shares
    Share 0 Tweet 0
  • Boglands Review: Shadows and Whispers in the Irish Mist

    1 shares
    Share 0 Tweet 0
  • Death Valley Review: A Witty Welsh Wander into Cosy Crime

    1 shares
    Share 0 Tweet 0
  • The Librarians: The Next Chapter Season 1 Review – Bridging Eras with Spellbinding Charm

    25 shares
    Share 0 Tweet 0
  • The Better Sister Season 1 Review: Not Quite a Killer Thriller

    16 shares
    Share 0 Tweet 0
  • MobLand Season 1 Review: Family Ties and Underworld Intrigues

    1 shares
    Share 0 Tweet 0
  • Nine Puzzles Season 1 Review: Puzzle Pieces, Pain, and Police Procedurals

    1 shares
    Share 0 Tweet 0

Must Read Articles

Bullet Train Explosion Review
Movies

Bullet Train Explosion Review: Bureaucracy, Bombs, and the Weight of Duty

1 day ago
Game of Thrones: Kingsroad Review
Reviews Games

Game of Thrones: Kingsroad Review: A Song of Systems and Sorrows

3 days ago
Stick Season 1 Review
TV Shows

Stick Season 1 Review: Owen Wilson Drives a Heartfelt, Flawed Dramedy

3 days ago
Destination X Review
Entertainment

Destination X Review: A Game of Veiled Realities

4 days ago
Earnhardt Review
Entertainment

Earnhardt Review: The Anatomy of a NASCAR Titan

4 days ago
Loading poll ...
Coming Soon
Who is the best director in the horror thriller genre?

Gazettely is your go-to destination for all things gaming, movies, and TV. With fresh reviews, trending articles, and editor picks, we help you stay informed and entertained.

© 2021-2024 All Rights Reserved for Gazettely

What’s Inside

  • Movie & TV Reviews
  • Game Reviews
  • Featured Articles
  • Latest News
  • Editorial Picks

Quick Links

  • Home
  • About US
  • Contact Us
  • Advertise with Us
  • Review Guidelines

Follow Us

Facebook X-twitter Youtube Instagram
No Result
View All Result
  • Home
  • Movies
  • Entertainment News
  • Movie and TV Reviews
  • TV Shows
  • Game News
  • Game Reviews
  • Contact Us

© 2024 All Rights Reserved for Gazettely

Go to mobile version