French filmmaker Benoît Jacquot often crops up in discussions of overlooked auteurs of contemporary French cinema. His work is quiet, understated, and rarely finds a wide audience. Yet, efforts like Farewell My Queen, A Single Girl and The School of Flesh are heralded as among the best French efforts of their respective years. However, for every effort that wins the heart of niche audiences, the rest of his films are divisive and alienating. While a lack of consistency is perhaps working against him, many of his contemporaries are even bigger gambles: François Ozon is responsible for some beautiful films but more of his efforts are outright misses, and even heavyweights like Olivier Assayas deliver as many misses as successes. Perhaps it is the quietness of Jacquot’s style that works against him, his best efforts coming across as understated and his worst as dull.