by Hudson Moura
François Ozon’s When Fall is Coming unfolds as an exquisite, slow-burn mystery delicately rooted in the director’s family lore. It draws on a real story: Ozon’s aunt gathered mushrooms in a forest, preparing a meal that left the whole family ill—except for her, the only one who hadn’t eaten. Building on this premise, Ozon weaves a story where subtle tensions simmer beneath the surface, fueled by secrets and past lives.
The narrative centers on Michelle, played by the remarkable Hélène Vincent, a septuagenarian who has settled in the countryside. Michelle is closely tied to her longtime friend, Marie-Claude, played with rich nuance by Josiane Balasko. The plot kicks off when Michelle prepares for a visit from her estranged daughter, Valérie (Ludivine Sagnier), who carries a distinct bitterness toward her mother. Their relationship is strained, with Valérie openly eyeing her mother’s country home as future inheritance material while already in possession of a Paris apartment gifted by Michelle.
During the visit, mother and daughter venture into the forest to forage for mushrooms, and Michelle’s small country room—where she’s readied to host Valérie—is adorned with a poster detailing various types of fungi, a subtle yet eerie foreshadowing. However, a lapse in judgment leads Michelle to serve toxic mushrooms at dinner, almost killing her daughter in the process. Fortunately, Valérie’s young son, Michelle’s cherished grandson, does not partake in the meal, narrowly escaping harm. This poisonous accident becomes the wedge that drives Valérie to prohibit her mother from seeing her grandson—a heartbreak for Michelle.
As the plot thickens, Ozon introduces layers of hidden history, revealing that Michelle and Marie-Claude were once prostitutes. This shared past haunts Valérie, who struggles to reconcile her mother’s former life with the maternal figure she knows. In a quiet yet powerful opening scene, Ozon hints at redemption with a church sermon on Mary Magdalene, resonating with the film’s themes of forgiveness and reckoning with the past.
Complicating the dynamic is Vincent, Marie-Claude’s son, recently released from prison. He owes much to Michelle, who, despite her own challenges, supports him as he rebuilds his life. The film’s casting is superb, each actor infusing their character with rich, layered subtlety that invites the audience to interpret motivations and intentions rather than being handed clear answers.
When Fall is Coming shines in its ability to maintain suspense without overt explanations or confrontations. It leaves viewers questioning: Was Michelle’s near-fatal meal a mistake, or was there something darker lurking in her intentions? Has Vincent truly turned over a new leaf, and are these retired women of the night truly at peace with their past? The police and investigators, often central figures in typical mysteries, fade into the background here, making room for the audience to piece together the story and ponder the characters’ emotions and desires. This is no easy task, as Ozon masterfully crafts an atmosphere steeped in ambiguity.
The film’s strength lies in its portrayal of unspoken emotions, accentuated by the autumnal, mist-laden forests of Burgundy, which lend an eerie beauty to this exploration of memory, remorse, and renewal. In When Fall is Coming, the actors’ restrained performances allow these nuanced struggles to surface naturally, immersing the audience in a gentle yet compelling mystery that stays with them long after the screen fades to black.
The film will be presented at Cinéfranco—Festival International du film francophone, from November 1 to 10, 2024, at the Carlton Cinema in Toronto.