The titular infant in François Ozon’s breathtaking work of magical realism may be a flying baby, but he’s definitely no angel. Ricky’s wings aren’t white but mottled brown and gray, the color of his council-flat surroundings east of Paris. The cherub’s parents—mom Katie works at a chemical factory, where she meets Ricky’s father, Paco—rear him with the help of the baby’s devoted seven-year-old sister, Lisa. Ricky, like Ozon’s 1997 featurette, See the Sea, unfolds as a fascinating examination of maternal bonds—which are severely tested when Katie must decided what is ultimately the best for her special-needs infant. And, like the director’s 2004 movie, 5x2, Ricky is also a deft portrayal of families fissuring and reuniting. Liberally adapted from Rose Tremain’s short story “Moth,” the film gains in power during several key moments, which insightfully examine the strains of parenting, particularly during times of economic hardship: Katie transforming the living room into her bedroom by unfolding a futon; Paco changing Ricky’s filthy diaper; the horror of seeing two tiny blood stains in the baby’s crib, his new appendages about to sprout.