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A story is like water that you heat for your bath It takes messages between the fire and your skin.
In Dans La Maison, François Ozon continues to explore the permeable border between art and life and the «queer tension and pleasure in the most regular relations» (Wilson, 2006, 8) earlier examined in such films as Le Temps Qui Reste, The swimming pool and Under the sand. Dans la maison has been variously described by critics as a thriller with a nod to Hitchcock (Lane, 2013), a meta-exploration of class envy and stifled desire , an examination of the french school system (Brody, 2013), and a cautionary tale of the dangers inherent in acts of creation (Kauffmann, 2013). Worthy of repeated viewings, it is a complex film that contains multiple interlaced stories - a middle aged man who becomes obsessed with his student's creativity, a teenager's desperate yearning to belong to what he imagines is normal, a study of the unseen paradoxes in every marriage, and a reconsideration of the role of the nuclear family.1 Ozon's ability to mix genres (Ince, 2008) allows a truly intellectual film, a