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Peter von Kant

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France · 2022
1h 25m
Director François Ozon
Starring Denis Ménochet, Isabelle Adjani, Khalil Ben Gharbia, Hanna Schygulla
Genre Drama, Romance

Based on the Rainer Werner Fassbinder classic The Bitter Tears of Petra von Kant, this remake follows famous film director Peter Von Kant. He lives with his long suffering assistant, Karl. Karl observes as Peter becomes infatuated with a young and handsome aspiring actor named Amir, whom he introduces to the world of cinema.

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IndieWire by Ben Croll

The breath of life and beating heart at the center of countless, Russian nesting doll layers of artifice and art-house reference, actor Denis Menochet doesn’t just anchor Peter von Kant, he makes the Francois Ozon project a film.


The Film Stage by David Katz

Ozon wants to show us how committed a student of Fassbinder he is whilst successfully aping his dramaturgy and tone. But Fassbinder answered to no one.


The Hollywood Reporter by David Rooney

Peter von Kant is perhaps a bit too rarefied an endeavor to significantly expand Ozon’s following, and some LGBTQ audiences might conceivably flinch at its protagonist’s self-flagellation, much as they did with Fassbinder’s. But its skewering of celebrity is mischievously enjoyable and its declaration of love for a queer-cinema forefather disarmingly sincere.


Variety by Jessica Kiang

Everything in Fassbinder’s rightly canonized movie is fake, except the emotions. In Ozon’s loving, diverting but inessential homage, everything is real except the bitter, glycerine tears.


Screen Daily by Jonathan Romney

Both homage and critique, Peter von Kant astutely gets under the skin of the lesbian-themed original, ekes out new resonances and proves both authentically Fassbinderian and altogether Ozonesque in its ironic sensibilities.


The Guardian by Peter Bradshaw

There is something lighter, almost flippant and French-farcical about this new Von Kant: a man brought low by l’amour, inviting from the audience hardly more than a worldly, sympathetic shrug.


The Telegraph by Tim Robey

Where Fassbinder crafted extraordinary tableaux of self-parodic misery, such as the drunken, prostrate Petra diving for the phone on her white shag carpet, Ozon breezes through this exercise instead with his usual snappy relish. He has plenty to say about the original’s magnificence, but perhaps not an awful lot to add.

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