The film is set in a French provincial town in 1977 when Ozon was just ten years old. To make this film seems important for the director to come to grasp what are the results of his dedication to cinema after twenty years of a successful career. “Potiche” is Ozon’s “adieu” to French cinema as an art of addressing life as a whole (not just particular problems of life). Ozon himself never was part of that cinema – he was too young when that kind of cinematic art was at its peak, secondly, he needed to resolve for himself in his films number of specific existential problems, but also because it’s very difficult for the director to overcome the commercial appeal of cinema.

Making “Potiche” was for Ozon even more important than overcoming the fact that he wasn’t able to make this kind of film (addressing life in its wholeness) before. “Potiche” is also Ozon’s nostalgic “adieu” to artistic cinema with political awareness (not just a political film). It is a film about life making political aspect of life naturally present and named as such (not just hinted or connotatively suggested). Ozon wasn’t able to make this kind of film before.

In a way, as a director and a thinker Ozon was always a “potiche” of European cinema – never addressed life in its wholeness that could include political aspect with “existentialist” naturality. Only now, with this film of 2010 Ozon is psychologically and artistically strong enough to overcome these two limitations and to become the real, albeit, a nostalgic inheritor of a cinema that has almost stopped to exist (Godard and Resnais are the last living giants of that kind of cinematic art).

We, today’s film-viewers are given by Francois Ozon the chance – through watching his “Potiche” not just to pay tribute to what is culturally out of wide attention (cinema concerned with life and its political aspect more than with commercial appeal) but in following his example of trying to resurrect serious cinema to start to demand from filmmakers and producers to bring it back.