Kalte Duschen

The movie is fresh, poignant and real. For a non-professional actor, Johan Libereau manages to touch you with his raw humanity. If he polishes on his acting skills, he will become a formidable actor. Salome is captivating with her open frankness. The other actors were quite realistic too, in their different ways. There are a lack of continuity with many scenes, creating the impression that somebody had cut out a big piece. One example, is when the Chinese boy(his arm was in a sling)walked up with the coach and the next thing, Michael is outside kicking a ball!? Some scenes could have been left out altogether, like the night swim which Michael had with Vanessa. My major pain was with the camera work. I cannot understand why a lot of the scenes had to be done in close ups. The most annoying was the group shower scenes where the boys were making fun of the Chinese boy. At one point, somebody's back covered the entire screen. I felt that 70% of the movie was done in close ups, causing you to miss a lot of the details, like with the judo scenes. A lot of the close ups were done exclusively to mask the frontal nudity. This shame is normal for American directors but with a Frenchman? Even the Parental Advisory sticker created the impression of disgust and abnormality which nudity is definitely not. I strongly recommend seeing this movie and if at the end you feel like strangling the cameraman, you are not alone! By the way, this movie is NOT a gay movie and the 3-way sex scene was too dark and lost in the close ups.

I would have gave this movie a 10 without a doubt. However,I hate the cutting room table! I'm sure if this movie was shown without being chopped up it would have been perfect! Don't get me wrong, I like this movie very much. What I hated was the fact I did know how Mickael went from hitting his girlfriend in the face to crying because she didn't want him sexually in store dressing room? I mean what happened from one point to the other? Is it on the cutting room floor? I would like to see this movie without the over cutting. Or see a remake of it with American actors.

Over all the movie is well acted. You can feel the strong friendship between Mickael and Clement. As a matter of fact I'm surprised that the two did not make love with each other without the girl from the way they play together. If anyone ever had, or have a best friend and a lover. And you and the best friend shared your lover; you can fill in the blanks that is missing from this movie. If you never did such a thing you most likely will feel that the situation is unreal.

This movie is modern up to the bones: it's themes (solitude, adolescence, couple, discovering of the self), it's directing (cool, distant, objective and full of human truth), acting (the two main characters, but also the non-leading ones), the music (a sort of pop-psycho-rock, very deep and touching), all of this concures to give us a wonderful movie. It shows marvelously the evolution, but also the dissolution, of a young boy towards maturity. The relations between the self and the others, the discovering of the flesh, the torment and the solitude of the soul, all of this builds up towards the end, which is a cry of loneliness. But the life restarts, and we know that life is not a tragedy but eternal repetition: the hero gets back into reality, more human and stronger. This first movie is promising for the future of Antony Cordier. There is however a little critique to be made to the movie. It is too obvious sometimes: it is clear that the director wants to concentrate on the bodies, on the physical aspect of reality. There is a great pleasure in this, and every modern film-maker and film-lover knows it. The danger is not to fall into the extremes. The movie runs this risk, but it holds well overall. I'm already looking forward to seeing it again. The ending is brilliant, and the song on the back is tormenting!

'Douches froides' ('Cold Showers') is a film by Antony Cordier that has been marketed in a strange way: the projected audience was supposedly the gay audience, but aside from brief frontal nudity in an innocuous gym shower room there is nothing 'gay' about this movie. Instead COLD SHOWERS is an examination of class, sport, experimentation, and emotional borderlines that are at once fascinating and frustrating.

Mickael (Johan Libereau) is from a poor working class family - his father Gerard (Jean-Philippe Ecoffey) is a boozer taxi cab driver who lost his license as a result of a DUI, and his mother Annie (Florence Thomassin) is a cleaning woman in the high school gym: they live on the edge of poverty. Not a great student, Mickael excels in judo and his life is focused on his sport and on his girlfriend Vanessa (Salome Stevenin). One of Mickael's teammates Clement (Pierre Perrier) is from a wealthy family: his father Louis Steiner (Aurelien Recoing) is confined to a wheelchair and his mother Mathilde (Claire Nebout) is a woman of the world and society. Louis decides to sponsor the judo team, buys them outfits, and asks Mickael to work with Clement to perfect his technique and prepare the judo team for a French championship.

Mickael and Clement relate well and while Mickael is a winning player, Clement is smarter and understands the intrinsic rules of the game better. An incident occurs that forces Mickael to take the position of a wounded mate and in doing so he must lose 8 kilos to qualify for the championship team. The struggle to lose weight (his body is already perfect) places stress on both Mickael and his family and teammates. Mickael and Vanessa include Clement in their camaraderie, a situation which evolves into a ménage a trois as the three have sex in the after hours gym. Vanessa reacts as though this is the greatest physical feeling ever, Clement is smitten, and Mickael has troubling doubts. When the three decide to try it again in a hotel room Mickael is so conflicted that he does not join the other two, only listening to their cavorting in the bathtub feeling inferior to the smarter, wealthier Clement. But on the judo side, the team wins the championship and Mickael's delicate sense of self worth is restored for a moment. It is the manner in which the trio of young adolescents resolves their antics that closes the film.

Though the actors are superb and very beautiful to see and hear, the character development is fuzzy and we are left with little understanding or insight as to the each of the key players. The judo action moments are beautifully choreographed and the intimacy scenes are done with taste and fine lighting but with little passion conveyed. Though we want to identify with Mickael and his methods of confronting his coming of age, there just isn't enough character motivation to make that transference entirely successful. This film feels like two movies: a judo team's antics and a class-crossed ménage a trois. Beautiful to watch, but the script could have been more carefully constructed.

This film deserves a chance to be seen. This teenage coming-of-age story from France tells nicely against a backdrop of martial arts (judo), competition, and sex. But it goes beyond to show some nice subtleties where class, success, and desire play out against one another to really give you a sense of what the main character is going through. I was pulled in. And the story just seemed to work and be very real and personal for me.

The director, who was present at this Toronto International Film Festival screening, mentioned the story started out as a school project -- something that garnered accolades beyond his expectations. It then grew into a judo documentary, before morphing again into a personal coming-of-age story with the director's personal story touches.

The result was excellent and succeeds on many accounts. I'd say it's worth checking out.