TOUS S’EST BIEN PASSE/ EVERYTHING WENT FINE, France, 2021. Starring Sophie Marceau, Andre Dussollier, Geraldine Pailhas, Charlotte Rampling, Eric Caravaca, Hanna Schygulla, Gregory Gadebois. Directed by François Ozon. 113 minutes. Rated MA (A strong scene of violence).
A film which explores themes of ageing, illness and assisted suicide. Well worth seeing and reflecting on. Based on the novel by Emmanuele Bernheim, it has been adapted and directed by Ozon, who has been making significant films for a quarter of a century. (A criticism, not of the film itself, but on the Americanised translation of its title. The French says that everything went well. In the translation the adjective fine is used, American-wise, as an adverb – a rather off-putting colloquialising of language.)
Towards the end of the film, the old man, Andre Bernheim (with Dussollier perfectly embodying an 85-year-old who is suffering the effect of strokes, hospitalisation, and has a cantankerous disposition and demanding of his daughters) remarks that his story could be the subject of one of his daughter’s novels. In fact, this is the case. The film is based on a novel by Emmanuele Bernheim, played by Marceau with a blend of compassion and exasperation. And, the names of the central characters, of the whole family, are their real names.
Emmanuele is a novelist, middle-aged, living with cinema entrepreneur, Serge, close to her sister, Pascal (Pailhas) and her children. Their mother Claude (Rampling) is a sculptress, ageing and suffering from depression. Their parents have long separated – this theme revealed later in the film and highlighting quite some complexities.
Ordinary life is interrupted when Andre has a series of strokes. He is not an exemplary patient, not even a good patient. While the illness takes its toll, he recovers and little and is able to participate in some activities such as a meal out or attending his grandson’s recital. But, the effect on his mind is a realisation that he does not want to live. He demands assisted dying.
This means the audience has to check its own attitude towards assisted dying. Legislation among countries differs, where in France hospital authorities have to take care as police can intervene, while Switzerland offers opportunities for assisted dying. There is something of a jolting sequence where Emmanuele asks the cost and is told that it is $10,000, plus ambulance transport – and wonders how people can afford this. Her father nonchalantly noting that they have to wait until death comes.
While the family has a Jewish background, religious ethics are not part of the consideration. Rather, the focus is on a general outlook on living rather than dying, palliative consideration, and the encouragement of life-giving activities. This provides some moral dilemmas for the two daughters.
The screenplay goes into some detail about associations for assisted dying. A woman from Switzerland (German veteran Schygulla) visits Andre in Paris and discusses the process with Emmanuelle. Andre needs to record his wish to die on his phone camera. It is arranged that Andre go to Bern.
There are moments of humour and many moments of pathos. There are complications with the attitude of Claude and the memories of her marriage. There are complications with an intrusive friend from the past and the audience discovering Andre’s sexual orientation.
This is a presentation of an actual case, raising the issue of assisted dying in the context of a secular perspective on life and death, in the context of restrictive legislation and practice, in the context of availability for assisted dying in Switzerland, offering the audience an opportunity to empathise, understand, agree or disagree.
Sharmill Films
Released 19 May 2022