“Don’t take me for a psycho,” explains Alex, the protagonist of François Ozon’s “Summer of ’85,” explains in the film’s opening voice-over. “Corspes are not my thing… Corpses are not my thing.
They have a terrible effect on me. Actually, one corpse had a terrible effect on me.” Yet at the conclusion of that pitch-black opening, which is written and framed like murderer’s confession, Ozon slams into upbeat New Wave music and beautiful bodies on a sunny beach, a single cut that summarizes the style (and, perhaps, the biggest flaw) of the French filmmaker’s latest.
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