Under the Sand

On holiday in the Landes, Marie's husband Jean goes for a swim and does not come back. There are no witnesses and no body. Marie returns to Paris and carries on as if he were still there, talking to him at home and laying two places at the table, while starting an affair. François Ozon never says what happened. Remains are found with genetic markers matching Jean's mother and dental records that seem to fit; Marie refuses the identification and denies that even the wristwatch is his. The film ends with her back at the beach, seeing or imagining a male figure in the distance. Charlotte Rampling's performance is the centre of it and counts among the turning points of her career. Rotten Tomatoes sits at 93 percent, with a consensus pointing straight at her finely nuanced work, and Metacritic at 86. Variety called it an exquisite reflection on personal bereavement and named it a career-best performance. It was nominated for Best Film, Best Director and Best Actress at the 2002 César Awards. Who it is for: viewers who want grief told quietly through denial. Who it is not for: anyone who needs an answer. The film never says what is real, and that is deliberate.