"Coming of age" movies invariably carry a bit of awkwardness as we're reminded at least in part of how we behaved when we were young, or at least, how our peers behaved, or were perceived. I think it's to Céline Sciamma's credit, not to mention her cast, that compared to no few kindred titles this is light on that awkwardness and heavy on the drama. Already saddled by society's predetermined limits for her, Marieme sets off down a path of gangs, fights, and petty crime, gaining a sense of self-empowerment but also rather losing herself in the process. The swirl of camaraderie, risky behavior, and self-discovery is deeply compelling, offering a somewhat dour but engrossing portrait of a less glamorous side of life outside the City of Lights. For that matter, it would be easy for a title broaching such subject matter to fall into a depressing spiral, but as Sciamma has proven time and again she possesses a refined delicate hand as both writer and director that means her stories are approached only with utmost earnestness, care, and mindfulness. There's no singular stroke of genius here, but over its two hours 'Girlhood,' or 'Bande de filles,' more than proves its strength as a vivid, important reflection of contemporary chilldhood, and from top to bottom it's terrifically well done.
In every capacity the writing is bent toward a supreme balance between meaningful storytelling and subtle but unmistakable emotional punch. The characters, dialogue, and plot at large come across as a very real exploration of modern life; rich scene writing gives the protagonist a steady stream of scenarios that further tears her away from what her life had little chance of being, yet instead of the unending trail of sorrows this could have been, it feels like a natural narrative progression. That smoothness is bolstered by Sciamma's impeccable direction, orchestrating shots and scenes with a masterful keen eye, and the smart cinematography of Crystel Fournier. Even Julien Lacheray illustrates sharp intelligence in his craft a way that isn't always true of editing in every picture; some small moments are low-key brilliant. And not to count out anyone else's contributions, including those behind the production design, costume design, hair, or makeup, but apart from Sciamma's script and guiding hand I think it's safe to say it's the cast that stands out most. Everyone on hand gives a great performance, especially impressive for an ensemble comprised chiefly of non-professionals, but without a doubt it's Karidja Touré who really makes her mark, followed only half a step behind by supporting co-star Assa Sylla. It's no wonder that Touré especially earned award nominations for her portrayal of Marieme, for she slides into the role with such splendid ease, not to mention fantastic range, that one could be forgiven for thinking that she had prior acting experience.
Rounded out with a highly enjoyable soundtrack, primarily courtesy of Para One, 'Girlhood' is gratifyingly thoughtful in every regard. One might say that rather than make a film herself about black youth in France it would have been more appropriate for Sciamma to elevate a black filmmaker in her stead; on the other hand, I'm in no position to assess if Sciamma even had such pull at this point in her career, and in the very least, hopefully titles like this will help to pave the way for more black voices in French cinema. Either way the clear intent is admirable, and I think it's more true than not that Sciamma deserves at least a little credit for giving a spotlight to a marginalized group that hasn't had a lot of visibility in the medium in the country. And regardless, such considerations are beside the point, for like everything else she has made to date, the director has given us yet another outstanding feature that demonstrates her remarkably deft skills. One begins to wonder if Sciamma can do any wrong; so far, it doesn't seem so. Whether one is a fan of someone involved or just looking for something good to watch I don't think there's any going wrong with 'Bande de filles,' and I'm happy to give it my hearty recommendation.
In every capacity the writing is bent toward a supreme balance between meaningful storytelling and subtle but unmistakable emotional punch. The characters, dialogue, and plot at large come across as a very real exploration of modern life; rich scene writing gives the protagonist a steady stream of scenarios that further tears her away from what her life had little chance of being, yet instead of the unending trail of sorrows this could have been, it feels like a natural narrative progression. That smoothness is bolstered by Sciamma's impeccable direction, orchestrating shots and scenes with a masterful keen eye, and the smart cinematography of Crystel Fournier. Even Julien Lacheray illustrates sharp intelligence in his craft a way that isn't always true of editing in every picture; some small moments are low-key brilliant. And not to count out anyone else's contributions, including those behind the production design, costume design, hair, or makeup, but apart from Sciamma's script and guiding hand I think it's safe to say it's the cast that stands out most. Everyone on hand gives a great performance, especially impressive for an ensemble comprised chiefly of non-professionals, but without a doubt it's Karidja Touré who really makes her mark, followed only half a step behind by supporting co-star Assa Sylla. It's no wonder that Touré especially earned award nominations for her portrayal of Marieme, for she slides into the role with such splendid ease, not to mention fantastic range, that one could be forgiven for thinking that she had prior acting experience.
Rounded out with a highly enjoyable soundtrack, primarily courtesy of Para One, 'Girlhood' is gratifyingly thoughtful in every regard. One might say that rather than make a film herself about black youth in France it would have been more appropriate for Sciamma to elevate a black filmmaker in her stead; on the other hand, I'm in no position to assess if Sciamma even had such pull at this point in her career, and in the very least, hopefully titles like this will help to pave the way for more black voices in French cinema. Either way the clear intent is admirable, and I think it's more true than not that Sciamma deserves at least a little credit for giving a spotlight to a marginalized group that hasn't had a lot of visibility in the medium in the country. And regardless, such considerations are beside the point, for like everything else she has made to date, the director has given us yet another outstanding feature that demonstrates her remarkably deft skills. One begins to wonder if Sciamma can do any wrong; so far, it doesn't seem so. Whether one is a fan of someone involved or just looking for something good to watch I don't think there's any going wrong with 'Bande de filles,' and I'm happy to give it my hearty recommendation.