François Ozon

Ozon's standing rests on consistency rather than a trophy cabinet. He has kept a place in competition at the three major European festivals across three decades, which few directors manage, and he has done it while switching genre almost every time out. The range is the achievement: a musical murder mystery, a psychological thriller, a black-and-white post-war drama and a procedural about church abuse all sit in the same filmography, and each was received as a serious work rather than a curiosity.