“A sexy, deliciously silly and twisty thriller that laughs in the face of commonplace reason and ecstatically dials up its weirdness at every plot turn, Ozon’s film was a welcome reminder of the possibilities of cinema and its ability to fiendishly pull the rug from under a viewer.” – Tomris Laffly (Film Journal)
“A convoluted, deliriously overcooked psychosexual melodrama that is hard to take seriously. A startling volte face from the delicate mysteries of period drama Frantz, the new Francois Ozon enthusiastically dives into territory defined by a combination of Alfred Hitchcock, Paul Verhoeven and Mel Brooks. There are enough lurid trysts and dodgy sexual politics to titillate, outrage and intrigue a substantial audience although serious-minded critics may be less forgiving.” – Allan Hunter (Screen Daily)
“For those who know Ozon’s work, “L’amant double” constitutes a most welcome return to the frisky pleasures of his early career, when he steamed up the screen with the likes of “Criminal Lovers” and “Swimming Pool.” Amusingly enough, Ozon quite literally worked in shades of gray on his previous feature, the well-received but otherwise oh-so-polite black-and-white melodrama “Frantz,” whose delicate sensitivity is nowhere to be found in his latest.” – Peter Debruge (Variety)
Ozon has been to Cannes on numerous occasions, with Swimming Pool, Le temps qui reste, and more recently Jeune & jolie, and again this year the French filmmaker brings a touch of vibrancy and vigor to the festival’s usual cluster of grounded, bleak efforts. It’s rare the sexy win at Cannes, the main prizes anyway, and Ozon’s film is in a field of the more downbeat and Earthy favorites. A bridesmaid again I feel.