Mädchenbande

Defense business affairs place in 92 area in France is powered by black companies. Young black skins have some dreams too, lost their minds at moment and are applying their own community laws. They are respecting their rules and don't need to discuss long time about to agree many points of views. Without parents to guide them in right way, danger to be recruited by criminal organisations is an eventuality. Some of them will never pass general college school cycles how they would expect. The folies of a young sister would not copy her mother for a richer social life with accepting criminality risks' choices. A story full of expectations, tribal attitudes, feminine community helps and comparison to each others.

I like films like this one. They have purpose, relevance, and seek to connect us with lives we have not lived but can empathize with.

It's easy to see these characters as punks until it becomes difficult to. Writer/director Céline Sciamma makes no effort to judge the actions of the characters and thereby gracefully detaches her ego from the story. This makes for a film watching experience that is more absorption than hard analysis and intellectualization of this protagonist's life. This does not make it any less a provocative work, but allows for understanding we would not get otherwise, as with a camera less subtle.

Yes, it's a coming of age film, but without the climactic moment when the character comes- of-age (whatever that means). Instead the film is about comings and goings of identity and security, and why a person would seek these things.

It's socially relevant in the way it poses the character's environment and socioeconomic influences as factors to her motivations. We get a true sense of her circumstance. It explores low income, predominantly black areas of society untouched by most films. The attention it gives to people of this circumstance and the understanding it promotes is certainly a means to social change if only these sorts of films could reach more people.

Much attention is payed to bodies, skin, and faces, which the lighting often compliments. This is the source of the film's power rather than extraneous camera movement. The fascination here is intriguing as it's not out of lust but… well maybe it's just about the fascination. We are sensitive towards our physiques and appearances, and the camera shares this, only the bodies it shows are not just the characters' bodies but the actors' bodies. Bodies are a source for both power and insecurity to the characters. I don't feel the need to analyze this, only to comment, so I won't say any more.

While Girlhood won't be in everyone's movie watching range, it's definitely worth seeking out if you're inclined.

The film follows the life of a teen growing up in a rough suburb of Paris. The technic on display is solid, creating strong visual motifs that carry and modulate throughout the film. The director likes showing characters in groups, dominating the frame. The film understands the attraction of a posse to a person not fully confident or formed, and communicates it soundly. She contrasts these images with the more personal shots of people alone, lost. These shots are rare, and really work all the better for it. A two-shot is also in use, but also frequent. There is a dissonance, something not fully confident about these shots, showing the heroine's inability to fully be herself and complete with just one person.

While the visual strategy of the film is sound, it also comes off as somewhat simplified. There is only so much you can tell the viewer with a specific shot structure. And one of the things that stays bland is the main character. She never seem to come together as a person, and while thematically it makes perfect sense, it feel frustrating to watch a film that ask you to follow a progression, only to not get to see any kind of payoff. The development is really minimal, with most of the broad changes happening when we're not around.

Overall, the filmmaking kept me interested moment to moment, and the film does take bold turns in order to take the story and character into different places. But the characters leave a lot to be desired and I just never got into the main character arc.

Girl power comes from French cinema in this classic coming-of-age story; female centric and empowerment driven, Girlhood is centered around 16 year old Marieme and her struggles with peer pressure and self discovery. While the tale may be repetitive, director Céline Sciamma gives fresh visuals and dramatic flare to the film, which is captivating from the very start. Set in the lower class suburbs of France, Girlhood is as much an emotional journey as it is a visual one, and a satisfying film from beginning to end.

Girlhood, which, by the way, is not a female answer to Richard Linklater's Boyhood, is very performance driven and an actor's dream. Karidja Touré carries the film on her small shoulders, projecting various emotional moments with strength. One scene in particular is very special to the film; the four girls rent a hotel room and get all dressed up in formal wear to just hang out with each other and drink alcohol. Eventually, they play Rihanna's "Diamonds" and begin dancing away their problems from the outside world. This moment in the film is captured so beautifully, it could have (and should have) been Rihanna's official music video. The blueish tones of the room, the general feeling of sisterhood, and the miming of the lyrics while dancing around in beautiful dresses show the girls' dreams of a better life, but making the most of what they have in that moment. It's a very powerful scene, which ultimately gives Girlhood its authenticity as the perfect portrait of the undeniable complexity of adolescent life.

Marieme (Karidja Touré) is a sixteen-year-old, African-French girl living in a working class Paris suburb, where her poor academic performance results in no other option other than vocational school. Marieme's homelife is equally bleak, as she's often in the care of her abusive older brother, with no real friends or outlet of creativity to turn to. One day after school, she meets a gang of girls; lead by Lady (Assa Sylla), they are Fily (Marietou Tore) and Adiatou (Lindsay Karamoh), who ask if Marieme wants to hang out with them and enjoy a day of independence, free from school and the responsibilities of every day life. Marieme is instantly attracted by their sleek leather jackets, gold necklaces, and loud hairstyles, so she can't help but, overtime, develop a sense of attraction to them and their wily ways. It doesn't take long for Marieme to become invested in the gang's lifestyle, which concerns a lot of assimilation into their own everyday practices, such as relentless, bare-fisted fighting with other women in remote urban areas. The violence gets ugly and the lengths Marieme goes to be accepted are uglier.

Céline Sciamma's Girlhood is a delightfully unconventional picture that truly shows the subtle takeover that many gangs have on people, and in this case, women, the demographic who is sort of accepted as being "too good for gangs" or more drawn to harmless cliques that innocently gawk at guys and discuss fashion trends. Sciamma goes for a brutal but tender picture, much like her last film Tomboy, a surprisingly gentle film about a ten-year-old girl searching for acceptance with her short hair and fluid gender identity.

Where Tomboy spoke to young girls, Girlhood speaks to the demographic of young women that are handicapped, be it by finances, personal responsibilities, poor academic performance, or what-have-you to the point where joining a pack of dangerous women seems to be the only sane and logical thing to do. It's a scary thought but Sciamma depicts it in a way comparable to that of Larry Clark or Harmony Korine, where the film doesn't adhere to a slippery slope structure, where we're essentially watching the demise of a character before a rise even occurs. Sciamma doesn't subject her Marieme character to constant abuse that grows worse and worse, in an almost sadistic and self-damning way. Instead, she follows her along in a realistic manner, through multiple hairstyle changes and even an eventual identity overhaul in hopes that she'll find some semblance of solace with herself.

Many can see Marieme's problem a mile away and that's the fact that she's trying to solve her personal problems by filling the hole with other people, which, in a long-term sense providing a close relationship with males or females is built, will only result in mistreatment and abandonment on her part. Marieme is trying to find solace in others when she should be spending more time alone, searching for herself instead of falling prey to the vicious acts of gangmembers she barely knows. However, this is where Sciamma's film becomes a multilayered examination of the troubled female heroine; we can either view her choices as that of an naive young girl pining for acceptance or somebody who is trying to figure out what she wants and taking pride in group identity.

However you view Marieme and Sciamma's general purpose for Girlhood, certain ideas and attributes about the film hold up in their own, less ambiguous way. For starters, Sciamma goes for a long and aesthetic that relies heavily on vignettes and a lack of pacing in the conventional sense. Her pacing is very loose, and unfortunately, this lack of a cleaner structure finds itself all over the board in the way the film wants us, the audience, to react. Her pacing, and overall aesthetic, resembles that of a potboiling soap opera in that, no matter how Sciamma decides to position her characters or her camera, everything still feels like something alone the lines of a soap opera in terms of its look and feel. This is a somewhat distracting attribute, especially for a film nearing two hours in length and running on a rather minimal plot.

With that, Touré's performance is quite the standout, given that for the twenty-year-old's first acting gig she is left to carry a lion's weight of the film on her back in addition to having a character without a fundamental identity. Much like the young Zoé Héran's Laure in Tomboy, Touré finds ways to make Marieme speak to young women who have found themselves lost and without a healthy creative option to turn to amidst a bleak outlook. This sets up Sciamma for her many idiosyncratic insights into the gender fluidity of her female subjects in a manner that gives Girlhood a stamp of cold-cut realism and honesty films of this nature are hard to come by.

Starring: Karidja Touré, Assa Sylla, Lindsay Karamoh, and Mariétou Touré. Directed by: Céline Sciamma.