Le chignon d'Olga

Julien and Emma have lost their mother a year ago and live with their father. He is in love with the beautiful Olga who works in a bookstore. Too shy to approach her he dreams of caressing her and even gets a friend to assist in an elaborate (and rather amusing) subterfuge to win her. The characters try to rebuild themselves through a series of mistakes where the nuances of everyday language and gesture is misunderstood and moral high grounds challenged. A beautiful, subtle and altogether charming and delightful film.

A tale of provincial life in the south of France focusing on the lives of two young people, brother and sister, who live together with their recently widowed father. It is as languid and slow moving as the summer heat.

Very little appears to happen. What story there is is oblique, subliminal, played out in peripheral vision. If you stick with it, and I strongly recommend that you do, it may linger in your mind long after the closing credits roll. I only began to really appreciate how much I'd enjoyed it the day after I'd watched it. It is an acutely observed, heart-warming, touching study of the realisation that must come to every adult - that it's time to leave the comfort and security of the family home, to make our own way in the world, to become ourselves, and to face all the pain and challenges that involves.

When I read the Director was only twenty three in one sense I wasn't surprised. The film, for me, perfectly captures the joy and pain of semi independent youth. It is a film that had to be made with these feelings fresh in mind. That the Director does this with such style, so beautifully, so subtly, is what really impressed me. The title, referring to a female character's hairstyle, is typical of the film. Nothing is addressed directly but the film, taken as a whole, is a wonderful evocation of a moment in life that I'm sure will strike a chord in everyone who watches it - even if you can't exactly put your finger on the reason why. It's charming, it's quintessentially French, and it's beautiful. I loved it.

Julien and Emma are brother and sister, living in rural France with their father, who writes children's books. Julien is a gifted pianist but the loss of his mother has sucked the joie de vivre out of him; his best friend Alice knows it although their platonic relationship is more about him supporting her in bad relationship choices than anything else. When he sees a beautiful woman called Olga in a bookstore, Julien is smitten and sets about to set up someway of impressing her and winning her affection. Emma meanwhile is a bit lost – looking after her father, experimenting with lesbianism and wondering where her career will go. Meanwhile their father has to look after a young nephew and deal with advances from the wife of his local pub landlord.

With a lightness and charm running throughout it, many viewers will be able to forgive this film for having a rather thin narrative. The plot is a gentle look at the lovelife of each character, not in too much detail but giving us enough to be interested in each person. By doing this it does limit the impact it can have, because this is like a character study without a great deal of depth and it relies very much on us getting into the mood to be taken along with the air of comic romance that it has. This is quite easy to do though, because the film is sweet and charming throughout; the writing is nothing special but it is natural enough to create reasonably real people for us to get into.

This is helped by the cast doing roundly good jobs. Benhamdine is a bit wishy-washy and perhaps a bit like a moody teen but interesting nonetheless and still someone I came to like. Boutefeu plays a known role of "friend whom it has never gotten on with" but she is sweet enough to make you believe that the two friends are platonic but yet that something more is possible – this dynamic can easily look forced but Boutefeu and Benhamdine make it work. Loiret is good and I would have liked the film to do more with her than it did; although I think that the minor story of their father was enough to add depth, even if it was basic. Despite being the title character Rollin has little to do, but the camera makes good use of her by showing how the little things can make a woman seem magical – in Olga's case it is the soft fabric she wears that appears to slide over silky skin with each movement. This observation is one of many nice touches by Bonnell as director; he moves the camera naturally and frames his shots well.

Overall there is not much to this film and much of it you will have seen in other mainstream romantic comedies. However what makes this worth seeing is that it manage to make this formula work on someone as jaded as me – it is sweet, unassuming, charming and as gentle as a kiss on the cheek; hardly cutting edge writing but I imagine it will win over most viewers quite easily.

This is a typically French film - inconsequential, gloomy, and yet somehow beautiful. It is a tale of lost people coping with loss and searching for love in the South French countryside. The characters are just ordinary people: smoking, working, and wondering what to do with their lives.

If you are looking for a riveting storyline with a beginning, a middle, and an end; or if you want to be thrilled by action, or floored by humour, do not watch this film. But if you want to see a lucid and touching account of ordinary lives, and the questions we all ask of ourselves, you won't regret seeking it here.

'Le Chignon d'Olga' is a film about the lives and loves of an affluent, liberal family. As with many French films, the characters exude a natural sexiness (in a way that is not seen in most Hollywood movies), and the acting, and the detail of the script, are both good. But the film made me feel a little old - viewed from a certain perspective, there's an inconsequentiality about these teenage affairs and while the plot operates in the context of a deeper story (the recent death of the children's mother) the treatment of this is muted. But if it's a slight tale, it also feels true, and lead actress Nathalie Boutefeu has a lovely, interesting face that director James Bonnell makes good use of.