Atypical, he is one of the very few French directors to have succeeded in making a career in Hollywood. With Oxygen, produced by Netflix, it signs a superb closed-door science fiction carried by Mélanie Laurent.
Few French filmmakers have succeeded in working durably in the United States, in acclimating to a productivist and pragmatic system that does not go well with Latin indolence and sensitivity. In the years 1940-1950, Jacques Tourneur, with famous titles like The Feline or Date with fear, had succeeded in establishing himself as one of the masters of Hollywood thrill. Seventy-five years later, his heir is called Alexandre Aja. Working across the Atlantic for fifteen years, he has chained several remarkable horror films such as The hill has eyes, Mirrors, 3D Piranha, Horns or Crawl, exceptional B series on a young woman besieged by alligators in the middle of a hurricane, that Tarantino will hail as the second best film of the year (just behind The irishman by Martin Scorsese).
It’s a small film, but a very technical film, and it’s also science fiction, with a lot of visual effects. It’s complicated to impose this in our country, for the cinema market
In his juvenile forties, the director returns to France with a sci-fi film as intense as it is original, released worldwide on Wednesday
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