Doesn't the title of the list explain it well enough? This is a list of hight quality "short" films. Easy…
A French family with two daughters, 10-year-old Laure and 6-year-old Jeanne, moves to a new neighborhood during the summer holidays. With her tomboy ways, Laure is immediately mistaken for a boy by the local kids and passes herself off as Mickaël.
Tomboy is that type of film that gets better the more you think about it, and I sure have been thinking about it. While watching it I found myself getting a little bored in spots which is odd really because I tend to really like slow paced films that take their time with characters. This one, though, spent altogether too much time going between exactly two sets: kids playing and the familial apartment. Back to kids playing, back to the apartment. This went on for so long, probably the entire film now that I think about it, that I got a little fed up. Having said that, I am so glad I didn't fall asleep because there was something almost…
Tomboy is a French coming-of-age drama from Water Lilies director, Célina Sciamma, about a young girl pretending to be a boy. Whilst the film naturally raises questions about gender and sexuality it is less interested in finding answers and more in documenting the problems that arise from such lies (first love, going swimming, toilet issues etc.) particularly when the lies begin to escalate. It is a slight but perfectly formed feature, small in scale but sweet and intimate. The film was shot over a short summer period and the film is bathed in perpetual sunlight evoking memories of the endless summers of childhood. Although the story could have leant itself to a more sensationalist style, Tomboy is pleasingly grounded in a familiar reality. The characters are all totally believable and the natural performances are pitch perfect.
Endearing, touching and beautifully judged.
A family of four (mother, father and two daughters with a third on the way) move to a new village where the oldest daughter is keen to make some friends on her first day. This group of children, however, don’t get to know her as Laure, but as Mickäel: the pseudonym under which she hides the fact that she is a girl as she is already masked by a boyish appearance. Zoé Héran - playing the main character, appearing in almost every take during the eighty minutes runtime - is ordered to perform one of the most difficult and vulnerable roles possible and seldom have I seen a child this age nailing such a demanding part with this much subtlety…
A very small film with a very big subject matter. It works better that way. The natural and realistic environment of the film and the intimacy between children demonstrates the individualism of transgender issues and its complexities. I don’t know where that director found those child actors but they were marvelous.
Director Céline Sciamma imbues her intimate coming-of-age story with sufficient sensitivity and warmth. Tomboy tells a simple study of a 10 year old girl who come to terms with her own sexuality. This is not a film that actively asserts how society questions gender roles nor teaches us about sexuality heavy-handedly. Sciamma delicately controls the aspect of her character’s environment and observes just ‘how it is’. Which as a viewer, feels right especially we’re focusing on a young character.
The film will not stand without its natural, affectionate performances from the actors—led by the wonderful Zoe Heran. Heran’s androgynous face and physique effectively builds her character. Good supporting turns especially from the gifted young actors make everything wonderful. Overall, Tomboy is wonderful. Its simplistic narrative has an overwhelming charm and sensitivity that you can’t take your eyes off.
An incredibly subtle and minimalist film, Tomboy hands nothing over to the audience. Dialogue is scant and never expository, themes are covertly handled, and if you don't watch closely, you'll likely miss some important bits.
It's good then, that Fournier's cinematography is aesthetically appealing. The bright, sunny rays and resplendent colour scheme evokes feelings of memory - you always remember stuff vividly, those hazy summers where most of your social life occurred. This gives the film a very childlike manner to it, apt since, well, if you didn't know, it's a film about kids.
And if that's all you know, good. Know no more except it's about a girl who pretends to be a boy. Go in blind. Plot is…
Céline Sciamma is one of my favorite working directors. Tomboy is a wonder.
Laure is the tomboy of the title. With her short hair, dressed in a T-shirt and shorts, she could pass for a boy, and, when she moves to a new flat, that is what she does with the neighbourhood children: she becomes Mikhail. Part of the attraction of the film is that Laure is not treated as a case study: her motivations are not examined, it is just taken that this is the sort of thing people do: normal behaviour. The film works through scenes of close observation: we watch as Laure takes her role as Mikhail, practising spitting and so on. But there is a certain irony that her friendship with Lisa is based on Lisa thinking she is…
Women Directed 11/25
Toda la película avanza perfectamente entonces, por qué arruinarla con ese final? De todos los posibles, el peor. Michael no se lo merecía
A inocência acolhe, a pureza abraça. A dureza está na maturidade, no crescer não pertencendo àquele corpo.
Impressiona a facilidade com que o filme pende da leveza à tensão e por fim a angústia.
The naturalism tips unnecessarily into the bucolic but the performances, especially the lead Zoé Héran, are a distinct pleasure.
So acute in its beauty and agony. Sciamma has a little-matched gift for capturing youth. The final moment is beyond perfect.
Takes an admirably nuanced look at gender identity and expression, especially given the youth of the character in question. Sciamma's intimate-yet-reserved style and proclivity for non-professional actors work well with this material. A lot of scenes and telling incidents fit into the film's trim running time, but Sciamma gives everything enough breathing room that the film doesn't even approach feeling too full—closer to the opposite, really. There is a slightly unsettled feeling to it, perhaps because of that sparseness, but it isn't really a problem. The arc that exists is adequately served while still allowing the film to be a collection of scenes from childhood as they might appear to someone whose gender identity differs from their sex/assigned gender.
The entire time I was terrified that the kids will find out. I don't know what I was afraid but every scene I was worried sick they will find out and laugh at her. For some reason it made the movie for me like a fearsome experience. It was good. Very good. But I was scared the entire time.
Between this and Mustang, it's been a great month for films about siblings just loving and supporting each other. The warmth that Sciamma gets out of her young performers is just infectious, and creates a kind of utopia where you can't imagine anyone ever giving a second thought to someone else's gender identity. Of course, it's all the more powerful when people do inevitably question Laure/Mickael, and the film gracefully wraps up without any firm resolutions; it's decidedly a beginning, not an end.
movies directed by women,
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[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…