Tomboy

After seen this film I found some interesant comments of Céline Sciamma about her film.Céline Sciamma insists very much about the perception (le regard in French) that people may have about a person: Lisa thinks that Laure is a boy and all the "confusion" begins when Lisa asks Laure about her name and Laure answers "Mickael" !! From then the other children consider Laure as as boy. In this age some young girls like to play soccer,wear masculine clothes and people call them tomboys o garçon manqué in French: in most of these cases the experience is quite temporary.The performance of Zoé Héran as Laure/Mickael is remarkable.Also the other actors and actresses are very good.A very interesting story and therefore a very good film.

It feels like a time gone by of dreamy focused, eternally youthful, summer days: running around in woods, water fights, wrestling, sitting out of football matches, Play-Doh spaghetti, and feeling too scared to stand next to the other boys to pee.

With an approach that is far more Boys Don't Cry than it is Mrs Doubtfire, and by hitting upon gender identity during pre-puberty, a lengthy and distancing make-up job can be avoided.

And so without a rubber nose nor silicone jaw in sight, little Zoé Héran is left stripped bare, literally, to "play boy", with performance alone. And her performance as Laure / Mikael is nothing short of genius.

Masculinity is a hard act to pull off, but pre-pubescent masculinity is such a fine and narrow ledge between forced and feminine that it's incredible that it feels so effortless for a ten year old actress. Compare this to Glenn Close and Janet McTeer in Albert Nobbs, and they feel even more like Little Britain characters than they ever did tearing along the beach screaming "I'm a lady…" And they both got Oscar nominations…?

Zoe is surrounded by a cast of unbelievably naturalistic fellow children; her six-year old sister Jeanna, and the relationship they share is so intimate and convincing that every now and then I simply couldn't imagine there being a camera and film crew right up in their playful, cute as a button, faces.

Her burgeoning relationship with new neighbor Lisa, is as delightful as it is frightful, as you know that at some point there has to be a denouncement that Mikael is not all he seems – and for those of you that have experienced it, you thought that finding out your boyfriend was gay was tough?

Maybe, just maybe, it's because they're talking French that the performances and dialogue feel flawless – murmur in Parisian tones underneath sparse subtitles and I'm sold – or maybe it's because elsewhere they just don't grow 'em like they grow 'em in France.

The script, story, direction and cinematography are enviable, and throughout you hold a little silent prayer in your heart that it's not going to end up, like Brandon Teena, in a ditch.

Tomboy is a feel-good movie of a type we're unaccustomed to seeing: it doesn't end with killings or sex or a pile of money. It's a movie about children where the children aren't effigies of the adult audience, with knowing wrinkles and smart-aleck sneers carved on ten-year-old faces. It is the opposite. It's a movie that can help the hardened and scratched-up adult carapace melt away for 80-odd minutes. Through layers of paperwork and grime, we watch and we imagine remembering what it was like to feel protected and loved by two tall and wonderful beings. What it was like to come home to dinner. What it was like not knowing who you were.

The Tomboy is Laure, a 10-year-old girl whose family just moved to a leafy suburb. She has a summer to spend before school starts, and for reasons unclear even to herself, decides to fake it as a boy. Zoé Héran, the actress, is a remarkable performer and will be a remarkable French beauty in another decade, but in the film appears as a wiry, scrawny child who wears feminine clothes only on pain of motherly torture. She runs in the forest, scraps around with boys, and can get away with being on the "shirtless" team in the soccer game.

Here's something amazing about Héran's performance: I kept having to remind myself that she speaks. In fact, she probably has more lines than anyone else in the movie, but they seem ephemeral compared to the great work that silently goes on in her mind. The camera watches her think with such intensity and expression, and since this is not a dumb movie, we don't get a voice-over that explains the obvious. We know what she's thinking: how will I continue the deception on the field and in the lake? How will I prevent my family from finding out? And, in quieter moments, other thoughts, other sensations, attempts to understand things that she can feel but hasn't yet learned the words for.

Her self-discovery is framed by a supporting cast that includes tender and attentive parents, a cute little ball of energy for a younger sister, a neighborhood girl who's attracted to the mysterious stranger, and a colorful group of rambunctious but good-natured boys.

Tomboy was made for peanuts, and there's no telling what it would have looked like with a few million dollars to spend, but the feel and sound of it are perfect. In the day, the hiss and rustle of trees; at night, the taps and groans of the house in the wind. I watched it in a dark, dusty room on a New England January, and I could almost feel the sunlight on my own skin.

In the end, despite Laure's anxieties, this is a movie that shines with joy. A wide-open world of familial love, summer play, first romance, none of which is packaged to be bought or sold. None of that first-world paranoia, no fences and kidnappers and card readers and metal detectors. It's a picture of the days when half an hour of homework was a jail term, three months of summer were a lifetime, and childhood itself was a sky-blue eternity of invented games, skin-deep catastrophes and ineffable comfort at the steady hands of the people who wish us best.

P.S. Then again, we adults have our own joys, such as the dismal, acrid laughter at the stupidity of others. This movie didn't go unnoticed on the arch-conservative website The Free Republic, which claims that the main character is a lesbian (the word doesn't actually appear once in the script, and the director is on record saying she specifically wanted to avoid pigeonholing her protagonist). Of all the extraordinarily strong opinions expressed in the forum thread, not one appears to be informed by an actual viewing.

The discussion starts out by claiming that the movie "exploits small children to advance progressives' bizarre sexual agenda;" it takes a detour through gender reassignment surgery, underage sex and ends in a starkly pornographic debate about bestiality.

It's a trope that guardians of morality often have infinitely filthier and more disturbing minds under their helmets than the people whose work gives them shrieking fits. The debauched French have made a serene and charming movie about family and friends, whereas our self-anointed protectors of children's minds and bodies used it as a springboard into bottomless perversity. The moral: if you have a choice between reading a dour political site and watching a French children's movie, go with the movie.

This small independent film was made for peanuts (Filmed on a Canon 5D and just a handful of people in the crew) and it is probably unlikely to make any big impact on the box-office. However I'm sure it'll leave a mark on those few who will actually manage to see it.

Zoé Héran is absolutely wonderful as Laure, the 10 years old girl who's just moved into a new neighbourhood where nobody knows her and pretends to be a boy (Michaël) with her new friends. Her performance is one of the best of the year, and possibly among the best ever performances by a child: she not only perfectly captures that innocence that children of that age have, but at the same time she seems to have a deep understanding of the struggle and the pain of her character. Throughout the film she really acts as if she was a real boy in a way that's so believable that at some point I really started to wonder whether "she" was actually a real "he". The film knows that and it does play with you by stretching the lie as far as it possibly can, until it decides to show you the real truth in a beautifully handled scene where you do actually see briefly the girl naked. It's a fleeting moment and the film obviously doesn't linger on it, but it's enough to put our minds at rest so that we can carry on enjoying the rest of the story.

The director Céline Sciamma's ability to film children making it look real is incredible. It feels effortless as if the camera was one of the children themselves and we as the audience are left observing them playing in the forest as if we were spying on them, or as if it was all a documentary. Rarely I have seen scenes with such young children that feel so honest and real: the approach is subtle and light, the atmosphere is almost muted, dialogue to advance the story is used to a minimum and the silences are charges with meaning and intensity. This is a subject that rarely makes the news, let alone the movie theatres. And it's so refreshing not just to see it depicted in this film, but to have it told with such an understanding, honesty and open-mindedness. All this together with the stellar acting from little Zoé make the internal drama of Laure/Michaël even more poignant and powerful. Be warned, this is a slow film (a very short one too at only 82 minutes), that has "French independent" written all over it, from its pace, to its rough look and its lack of music score, but if you, like me, love films about children growing up, this sensitive, tender and never heavy- handed story might just melt your heart too.

I saw it months ago and I still remember it vividly, so it must have worked on me.

moviegeekblog.com

Laure, the tomboy of the title, moves because of Dad's job to a new neighbourhood and has to negotiate the minefield of finding new friends. With her short-cropped hair and boyish looks, it is easy for Laure to pass herself off as a boy. So she does. Existing as Mikael, she digs a hole deeper and deeper for herself during summer holidays. With the start of school approaching, friendships made and romances embarked upon, something has to give.

The film works in large part due to the casting. Zoé Héran as Laure / Mikael is so convincing as a boy that when she does finally don a dress it just looks... wrong. A double for a young Sting, she has an easy charisma and strong expression that makes her every move unmissable. Mikael is befriended by Lisa, a precocious Jeanne Disson, and young love blossoms in bizarre circumstances. As strong as these two performances are, Malonn Lévana Malonn as Laure's little sister Jeanne steals every scene she is in. Given a secret to keep half-way through, she crackles and delights every time you see her and wonder if she can keep the confidence.

As delightful as the children are, the theme of a young girl yearning to be a boy is presented but hardly explored. The film is episodic, one summer in the life of a mixed up girl. Laure's reasons for taking things so far are never dealt with beyond surface levels, and no resonance to wider concerns in society are present. The narrative strains with such insubstantial fare, but never breaks. Fans of such coming-of-age tales as Stand By Me or Yamada's Village of Dreams will enjoy this tale.