Tomboy


What determines sexual identity?

What determines sexual identity?

(2009) Drama (Rocket/Dada) Zoé Héran, Malonn Lévana, Jeanne Disson, Sophie Cattani, Mathieu Demy, Rayan Bouberki, Yohan Vero, Noah Vero, Cheyenne Lainé, Christel Baras, Valérie Roucher. Directed by Céline Sciamma

Sexuality is a complicated thing, particularly now. Our gender identification itself isn’t always what we’re born with; what really determines who we are sexually is what we feel inside.

Laure (Héran) is the older daughter in a young family that moves into an idyllic French suburb one summer. Her younger sister Jeanne (Lévana) adores her; her father (Demy) is kind and loving, her mother (Cattani) expecting a baby in the fall. It’s a wonderful family environment, the kind we all wish we had and all admire.

Laure wears her hair cropped short and could be taken for a boy. In fact, when one of the neighborhood girls, Lisa (Disson) sees Laure, she does just that. Laure plays along, introducing herself as Mikael (or Mickäel as it is spelled in the credits, although not in the subtitles). At first, it’s mainly so she can play with the boys who seem to be having the most fun.

As the summer wears on, Laure’s deception grows deeper and Lisa and her begin to get closer. Lisa kisses her one afternoon and that just seems to intrigue Laure. She takes great pains to conceal her secret, creating a fake penis to put into her swimsuit to make it appear like she has one. When Jeanne discovers what Laure is up to, she kind of likes the idea of having a big brother to protect her. However, school is approaching and Laure won’t be able to keep her secret forever. But is the truth that Laure is not playing a boy but is one inside?

This is a deceptively simple film that Sciamma wisely leaves very open to interpretation. Some critics and viewers immediately describe Laure as transgender or lesbian, but she just as easily could be experimenting. The thing is, we don’t know for sure because Sciamma deliberately keeps Laure’s thoughts to herself. The point is, it is for Laure to determine her sexual identity, certainly not for us as critics and even not for the viewers, although you will simply because that is our nature to assign roles to people.

Héran is an amazing find as an actress. She’s not so much androgynous as she is a blank canvas and everyone who sees her projects their own interpretation onto that canvas. When she wears a dress, she looks very feminine. When she’s in a wife beater and shorts, she looks very masculine. And for a young actress, she shows an amazing willingness to take chances. She’s the center of the movie and everyone reacts to her; she provides a fine means of delivering emotions and thoughts.

The loving family atmosphere might seem a little bit unrealistic to some; there seems to be absolutely no disharmony early on in the film. We do get an intimate look at the family, not just in a sexual sense (although it is never overtly said, it is clear that husband and wife are very affectionate with each other physically) but just in private moments with one another. We see the family dynamic at work and working well and there’s some comfort in that.

The pacing is slow, like an ideal childhood summer day. Some might find it too slow but that’s part of the movie’s charm; it takes its time to arrive at where it’s going and when it gets there, you get to decide where you are. That’s the genius of European filmmakers is that they don’t feel obliged to spell everything out to their audience; they take it for granted in fact that they’re intelligent enough to fill in their own blanks.

This movie doesn’t take any easy shortcuts; it merely presents the events and lets the audience make the decision as to what they are seeing. Is Laure a transgender? Could be. Is she a lesbian? Could be, too. Is she simply trying to fit into a new neighborhood and got caught in a lie? Also could be. What the movie does is force us to examine our ideas of sexual identity and essentially, our rights to form our own conclusions about who we are sexually. That in itself is a powerful message that is all too rarely delivered in our judgmental society.

WHY RENT THIS: Strong performance by Héran. A compelling slice of life that examines sexual identity in a positive way.
WHY RENT SOMETHING ELSE: The very slow pace may put off American audiences.
FAMILY VALUES: Some mild violence and language as well as adult themes.
TRIVIAL PURSUIT: The project came together extraordinarily fast; the script was completed in April 2010, Héran cast less than a month later, and the film was shot in 20 days in August.
NOTABLE DVD EXTRAS: None listed.
BOX OFFICE PERFORMANCE: $3.3M on a $1M production budget.
SITES TO SEE: Netflix (DVD Rental only). Amazon, iTunes, Vudu, Google Play, M-Go, Hulu
COMPARISON SHOPPING: The Danish Girl
FINAL RATING: 7/10
NEXT: Mustang

Advertisements

11-11-11


(

Timothy Gibbs is as bewildered as you are.

Timothy Gibbs is as bewildered as you are.

2011) Horror (Rocket) Timothy Gibbs, Michael Landes, Wendy Glenn, Benjamin Cook, Lolo Herrero, Salome Jimenez, Brendan Price, Denis Rafter, Angela Rosal, Lluis Soler, Jose Bertolero, Oscar Velsecchi, Jose Antonio Marin, Luis Alba, Jesus Cuenca, Titus Ferrer, Alejandro Gil, Jason Abell, Emilie Autumn, Patrizia Medrano. Directed by Darren Lynn Bousman

They say that the secret to the universe is written in numbers. I call it mathematic mysticism – a belief that the universe is controlled in a supernatural way by math and numbers. While I can get behind science and mathematics as the language of creation, it’s a bit of a leap of faith to think that numbers control our destiny.

Joseph Crone (Gibbs) would probably like a word with whomever or whatever is controlling his destiny. A bestselling author of thrillers, he is bitter and alone after his wife and son died in a fire while he was away. Since then he has had frequent nightmares about their deaths and has been unable to write a single word despite pressure from his agent to follow up on his last book which sold more than 5 million copies.

He is also attending grief therapy class along with comely widow Sadie (Glenn). There is a bit of a connection between them and he begins to open up, telling her he’s been seeing the number 11 a lot lately, particularly in groups of two i.e. nightmares taking place precisely at 11:11pm, a car crash taking place at 11:11am, that sort of thing. Then, he gets word from his estranged brother Samuel (Landes) that their father (Rafter) is dying.

Joseph flies back to Barcelona to be with his family. Samuel is confined to a wheelchair after an auto accident and he and dad are cared for by Ana (Rosal), the housekeeper who’s been keeping a diary and who makes creepy pronouncements. Samuel has become pastor of his father’s church during his illness and despite Samuel’s best efforts attendance is dwindling. Joseph has long since lost his faith, figuring any God who could let his family die in a fire was someone he largely had no interest in getting to know.

Demonic apparitions begin to show at 11:11pm and increasingly inexplicable and largely scary events begin to lead Joseph to the conclusion that yes, there are more things under the sun than can be explained by men and as he does further research begins to come under the sneaky suspicion that something bad is going to happen to Samuel on November 11, 2011. But can someone who has no faith stop something that requires faith to believe in it?

Bousman, who has directed several films in the Saw series, goes the demonic route here and surprisingly for him keeps the blood and gore to a bare minimum. Bousman does an adequate job of creating an environment that is spooky to the max but then populates it with few genuine scares. Mostly one just gets a creepy feeling, like watching a snake swallow a rat. Now if the rat were to suddenly leap out of the snake’s flesh with bared fangs and red glowing eyes…

But I digress. Part of the problem is that Gibbs is playing Joseph as emotionally cut off and almost zombie-like. Now, grief can cause one to shut off one’s feelings and I get that – however, for the purposes of a movie, the hero needs to at least show something other than numbness. He also needs to vary the tones of his dialogue so that he doesn’t sound like a robot. Gibbs is a handsome fellow, sort of a cross between Dermot Mulroney and Jeffrey Dean Morgan, but handsome alone can’t carry a film.

Bousman is actually a very entertaining speaker and does some of the best commentaries in the DVD business and he spends a good deal of time lamenting about budget constraints that take the initial climactic battle from 1,111 demons to five guys in rubber masks. You get what you pay for in that sense.

I think Bousman was successful enough at creating a scary atmosphere that the film succeeds overall if just barely. However, this isn’t the kind of movie that will scare you out of your seat. It might just give you the willies so chicken-hearted horror film fans, take note.

WHY RENT THIS: Atmospheric and creepy.

WHY RENT SOMETHING ELSE: Lacks real scares. Acting is less than convincing. Been-there-done-that demons.

FAMILY VALUES: It’s a horror film so, like, some horrible things happen. There’s also a bit of violence, some disturbing images and a few thematic concerns.

TRIVIAL PURSUIT: Bousman states on the commentary track that he believes the house they filmed in Barcelona in was actually haunted and goes on to recount some unexplainable activity that occurred while shooting took place.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $5.2M on an unreported production budget.

COMPARISON SHOPPING: Number 23

FINAL RATING: 5/10

NEXT: Day 4 of Six Days of Darkness 2013!!