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I'd rather steer clear of the theological dimension of the death/absence of father figures that recurs throughout François Ozon's films, but can assure Dejan Nikolic that it is central to what Ozon is about. Ozon is a queer (rather than a 'gay') film maker - this has been observed by quite a few people now - because his films thoroughly undermine and circumvent the paternal function (the logos, if you like) that underpins a phallocentric order of sexuality. Queer theory by Judith Butler and others can bring out very well the performativity and thoroughgoing fluidity of sexuality found in many of Ozon's films, although unsurprisingly, French critics have preferred (so far) not to notice this - and to write Ozon's 'histrionics' off as youthful excess. Anglophone criticism is on the case, though. Kate Kate Ince Director of Graduate Studies Centre for European Languages and Cultures University of Birmingham Edgbaston Birmingham B15 2TT Tel: +44 121 414 5972 Fax: +44 121 414 3834 E-mail: [log in to unmask] * * Film-Philosophy Email Discussion Salon. After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] For help email: [log in to unmask], not the salon. **