Tomboy

I watched this movie a few months ago, and I still think about it occasionally, so it did leave a mark for sure. It does have a lot going for it - very convincing performances by the child actors, fine cinematography, and an intriguing story line. That said, I am somewhat disappointed at how the movie treats the subject matter, perpetuating the "boys will be boys" and "girls will be girls" stereotypes. I understand that plenty of truth to the stereotypes, and it doesn't do any good to that things such as homophobia, transphobia, queerphobia and sexism do not exist, but for a movie that deals with the touchy subject of gender to be worthwhile, I feel it should view these issues with at least somewhat of a critical lens, and not merely paint the picture of "this is how things are" and leave it at that. "How things are" I see in real life and live in my own childhood. So, while not a bad movie by any stretch, it did feel sort of unresolved. And sad.

The French film "Tomboy," directed by Céline Sciamma, is a delicate work that delves into the turmoil of adolescence with remarkable authenticity. Through the story of Laure, a young girl who presents herself as a boy to her new friends, the film subtly explores issues of identity, gender fluidity, and the role-playing games that teenagers engage in to find their place.

Sciamma's naturalistic approach to camerawork and direction allows the raw emotions of adolescence to take center stage. The camera's unflinching gaze lingers on the face of the remarkable Zoé Héran, who portrays Laure with a depth of vulnerability and inner conflict that is truly captivating. Her every furtive glance and subtle expression convey the profound malaise and confusion that come with navigating the complexities of gender and self-discovery at such a tender age.

Far from sugarcoating or sensationalizing its subject matter, "Tomboy" handles the delicate themes with a refreshing honesty and nuance. The film avoids easy resolutions or heavy-handed messaging, instead inviting viewers to empathize with Laure's journey and the universal experiences of adolescence - the search for acceptance, the desire to belong, and the constant push-and-pull between asserting one's individuality and conforming to societal norms.

Notably, "Tomboy" also offers a nuanced portrayal of the parent-child dynamic, highlighting the eternal gap that often exists between adolescents and their parents. While Laure's parents are depicted as loving and well-intentioned, their inability to fully understand their child's inner turmoil serves as a poignant reminder of the challenges faced by families navigating the complexities of gender and identity.

Despite its sensitive subject matter, "Tomboy" is ultimately a film about the universal experiences of adolescence, rather than a political manifesto. Sciamma's deft touch ensures that the story remains grounded in the emotional realities of its characters, inviting viewers to connect with their struggles and triumphs on a deeply human level.

Unfortunately, some conservative minds viewed the screening of this film in a school setting with disdain, leading to its cancellation. It is deplorable that intolerance and prejudice have shattered the opportunity to offer our youth a window into the complex world of adolescence, depicted with such sensitivity and realism in "Tomboy." Far from promoting any agenda, this film simply invites empathy and understanding of the inner turmoil that agitates our teenagers.

In these times when open-mindedness and acceptance of diversity are more necessary than ever, it is regrettable to see such a cinematic masterpiece censored by the fear of the unknown. Sciamma's delicate handling of the subject matter, coupled with the raw authenticity of the performances and camerawork, make "Tomboy" a powerful and important work of art that deserves to be seen and discussed.

Let us hope that the future holds more opportunities to explore these crucial themes through art, without hindrance or hasty judgments. For it is only through open dialogue and a willingness to understand perspectives different from our own that we can truly bridge the gaps that divide us and foster a more compassionate, inclusive society.

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.

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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.

It is not often that I remain seated after the credits role, but after watching this film, I just did not want to move. The film left me feeling so good about the beauty in this world and the love of a family, that I was content to just sit in my seat for a while.

The film takes on some challenging themes but does so with such beauty and craft that it gives you renewed belief in the good of the world. And the mesmerising relationship between the two sisters certainly reminds you of the very special and unmatched love between siblings.

The performance of the main character is brilliant but the star of the show is definitely the younger sister whose character portrayal is positively behind the years for such a young actress. Special mention must also go to the supporting character Lisa - again another young actress who's portrayal of an emotional and thoughtful young girl is quite beyond her years. These three young actresses are sure to be future stars.

I highly recommend this film to anyone and everyone!