Ozon hasn’t. He’s latched on and in his best films clambers up onto their shoulders and creates real beauty. 8 Femmes and Dans la maison are good examples.
Une Nouvelle amie is not as good overall as these two films, but the scene in the queer bar where a drag queen sings “Une Femme avec toi” is one of the best moments he’s staged in a long time. Interestingly, it is also the one moment in the film where Ozon leaves Hitchcock and Sirk to the side.
And in leaving them behind, the scene in the bar reminds me of Ozon’s best film, Le Temps qui reste, a movie that confronted directly the problem of telling stories—and especially queer stories—without a preexisting model.