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François Ozon is often cited as ushering in an "auteurist" period of the late 90s. He has built his career on unpredictable, personal works which are often controversial, but always elegantly crafted. His 1997 film Séraphine is a perfect example of what sets him apart from other filmmakers. It tells the true story of a 19th century Belgian nun who became internationally famous for her paintings and was fraudulently claimed to be mentally ill after growing old. The film deals with themes such as art, religion, authenticity and madness with humor and intelligence. Séraphine is a dark comedy that does not take itself too seriously. Séraphine opens with a close-up of the protagonist's hand painting, which reinforces her stated intention to become famous for her talent. Thus, the film begins with two careers - art and real life - which are so often at odds. Ozon's commitment to unconventional narrative conventions provide an ironic subtext to the plot. Séraphine is often cited as being successful in anticipating Michael Haneke's Amour (2012) because, like Haneke's film, it takes place in a beautiful country home where simple kindness can be misinterpreted by others. Both films have a young woman at the center, in a relationship which is troubled, and both examine how it is possible in a modern society to maintain a sense of innocence in a world where technology and deceit always seem to be looming. Séraphine's female protagonist has been subject to all sorts of slander throughout her life. She is accused of being insane, when in fact she is simply eccentric. Ozon never allows us to believe that the protagonist is crazy because this would be too easy to accept - absurdist humor would foreshadow such an easy answer. Instead, Séraphine delves into the depths of madness and truth. In its final moments, Ozon's film culminates in an agonizing irony. We see that Séraphine has died exactly where she had hidden for years - in the attic. Her paintings are left to become entangled in a web of lies and deceit without anyone ever having made any real effort to honestly understand the real motivations behind her work. This final scene brings to mind Jean-Luc Godard's lacerating critique of bourgeois art, Adieu au Langage (Goodbye (or Farewell) to Language), which ends with a woman holding a sculpture which she has named "The Eternal Return. ” François Ozon, France, 1997. "Séraphine" at the Internet Movie Database "Séraphine" is distributed in DVD by New Yorker Films. The disc includes the following special features: https://www.academia.edu/25903786/S%C3%A9raphine_by_Fran%C3%A7ois_Ozon_An_Interview_with_Emmanuelle_Bercot__Translated__from_the_French__-_-Tristan_(print) http://tristanscinemamagazine. cfa1e77820