Douches froides

Other reviews have talked about how frank this film is, especially in terms of male frontal nudity. Well, those who've seen Grande Ecole with its frequently naked actors and expect something similar are in for a big disappointment. Other than a few seconds in the judo team locker room, the two leads' side by side shower lasts a grand total of 15 seconds. The female lead has comparably brief frontal moments. A lot of this film's marketing is geared to the gay male audience, but those expecting even a hint of homoeroticism between the two male leads (best friends who have a three-way with the girlfriend of one of them) will be most disappointed. There is not even the hint of either one's being interested in the other, or even scarcely aware that the other is part of the menage a trois. As a film, Douches Froides is curiously uninvolving; the viewer gets very little sense of who these three young people are, of how they are feeling, of why they behave as they do. About one hour of the original cut was deleted; perhaps this is why the finished film seems frustratingly undeveloped. Stick with Grande Ecole, a French film which more than delivers on its promises.

Love, friendship, family crisis, judo, ambitions of a young man, desolation, competition and ambiguous end. A French movie about small things of existence , mirror and lesson, without great ambition and little result. Interesting but not memorable, nice but not new,part of a very long series about teenagers, sport or lost relationships.The good part is role of an interesting cinema tradition. All ingredients are at perfect place. The circle of public is large and the end is good occasion to give your solution. Crumbs of nudity or social problems are only special gifts. Bitter solitude of character - seed for memories of love song and new beginning. In fact- nothing special. Only speech. About old small things.

I don't comment usually, so my review's probably not going to be too helpful, but I figure the comment list is currently empty, so...

I just saw this at the Cannes Film Festival yesterday (with English subtitles) and can say that this is a very good film with excellent performances from its young leads. Johan (I can't remember how to spell his last name, so I won't try) does an excellent job of portraying the depth and complexity of Mickael and the film rarely (if ever) seems overly dramatic. While some of the smaller roles, such as Mickael's family, seem like they could use a tad more rounding out, the story is ultimately made very emotionally engaging. The nudity is plentiful (for my American background, anyway) but most of these scenes earn their place in the film with their overwhelming effectiveness. I'd like to give it a 7.5, but IMDb won't allow decimals.

'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.

Not original. far to be impressive. a correct image of the frustrations of a teenagers and his universe. about love and sport, competition and conflict with parents, love and sexual interest, desires, confusion, angry, joy. a bitter blend of emotions and gestures who are far to be original and who seems be, after the final credits, almost a demonstration of improvisation. because the end is confuse and entire tension goes to nowhere. because the old French recipes of the exploration of emotions as basis of complex characters falls in this case. it remains one of many European films about teenagers. dramatic, seductive in few parts, amusing and nice. and, maybe, only problem remains the lost of direction in the middle of story who impose to reduce at classic clichés a promising theme.