Bande de filles (2014) is a French movie. Céline Sciamma has directed this movie. Karidja Touré,Assa Sylla,Lindsay Karamoh,Mariétou Touré are the starring of this movie. It was released in 2014. Bande de filles (2014) is considered one of the best Drama movie in India and around the world.
Oppressed by her family setting, dead-end school prospects and the boys law in the neighborhood, Marieme starts a new life after meeting a group of 3 free-spirited girls. She changes her name, her dress code, and quits school to be accepted in the gang, hoping that this will be a way to freedom.
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Just saw the movie yesterday and absolutely loved it. I took to IMDb to read up on the director and actresses etc., as I often do when I like a movie. Imagine my surprise when the first review I saw was a long winy 'exposé' of calling the director a pervert in different ways. Say what? Also because the director is lesbian she must hate men, no other evidence needed really according to the author. While that's obviously laughable for anyone who's not a raging homophobe and anyone in their right mind will ignore that review I thought I'd offer my views since there are sadly so few others around here (yet). First I might disclose that I do have a weak spot for movies dealing with female friendships, and as the movie reminded me of Show me Love (Fucking Åmål), Marie Antoinette, Frances Ha and other female centered movies, it was hard for me not to love it. The friendship between Vic and Lady is especially touching, from Lady taking Vic on as a young shy protegé, to them bonding after Vic's victory in the fight she fought for Lady or for Lady's acceptance of Vic leaving. The scene where they are dancing all together or playing mini-golf reminds me of some of the few good scenes of The Bling Ring and perhaps The Spring Breakers, that unquestioning best friend kind of relationships that are never as strong as during your teenage years. Then of course you have Vic's close relationship and protectiveness of her younger sister. I almost cried when Vic sat all ashamed in the train reaching for her sisters hand, and then her sister finally forgave her. And then that final scene... If the only thing you get out of this movie is that you're watching the bodies of a group of young women, then you might want to take a serious look at yourself and how you relate to women. The only sense of any kind of possible objectification or sexual tension that occurred in my mind was when Vic was telling her boyfriend to undress. I could perhaps see that some, a handful, of the straight men watching this movie would confuse it's undertones of sisterhood for something else. After all if you've been feed movies where women are never friends (consider the Bechdel test), only possibly lovers for the male gaze to enjoy, then it might be hard to interpret this movie. It might be frustrating to see young women presented in any other way than the normal and since it doesn't fit your sensibilities interpret that as the 'lesbian gaze'. As a straight woman on the other hand I applaud this movie and wish there are many more like this one to come!
I like films like this one. They have purpose, relevance, and seek to connect us with lives we have not lived but can empathize with. It's easy to see these characters as punks until it becomes difficult to. Writer/director Céline Sciamma makes no effort to judge the actions of the characters and thereby gracefully detaches her ego from the story. This makes for a film watching experience that is more absorption than hard analysis and intellectualization of this protagonist's life. This does not make it any less a provocative work, but allows for understanding we would not get otherwise, as with a camera less subtle. Yes, it's a coming of age film, but without the climactic moment when the character comes- of-age (whatever that means). Instead the film is about comings and goings of identity and security, and why a person would seek these things. It's socially relevant in the way it poses the character's environment and socioeconomic influences as factors to her motivations. We get a true sense of her circumstance. It explores low income, predominantly black areas of society untouched by most films. The attention it gives to people of this circumstance and the understanding it promotes is certainly a means to social change if only these sorts of films could reach more people. Much attention is payed to bodies, skin, and faces, which the lighting often compliments. This is the source of the film's power rather than extraneous camera movement. The fascination here is intriguing as it's not out of lust but well maybe it's just about the fascination. We are sensitive towards our physiques and appearances, and the camera shares this, only the bodies it shows are not just the characters' bodies but the actors' bodies. Bodies are a source for both power and insecurity to the characters. I don't feel the need to analyze this, only to comment, so I won't say any more. While Girlhood won't be in everyone's movie watching range, it's definitely worth seeking out if you're inclined.
Girl power comes from French cinema in this classic coming-of-age story; female centric and empowerment driven, Girlhood is centered around 16 year old Marieme and her struggles with peer pressure and self discovery. While the tale may be repetitive, director Céline Sciamma gives fresh visuals and dramatic flare to the film, which is captivating from the very start. Set in the lower class suburbs of France, Girlhood is as much an emotional journey as it is a visual one, and a satisfying film from beginning to end. Girlhood, which, by the way, is not a female answer to Richard Linklater's Boyhood, is very performance driven and an actor's dream. Karidja Touré carries the film on her small shoulders, projecting various emotional moments with strength. One scene in particular is very special to the film; the four girls rent a hotel room and get all dressed up in formal wear to just hang out with each other and drink alcohol. Eventually, they play Rihanna's "Diamonds" and begin dancing away their problems from the outside world. This moment in the film is captured so beautifully, it could have (and should have) been Rihanna's official music video. The blueish tones of the room, the general feeling of sisterhood, and the miming of the lyrics while dancing around in beautiful dresses show the girls' dreams of a better life, but making the most of what they have in that moment. It's a very powerful scene, which ultimately gives Girlhood its authenticity as the perfect portrait of the undeniable complexity of adolescent life.
My favourite film of 2014 being Boyhood, I was naturally curious to see 2014's Girlhood. Actually, Girlhood- which comes from France- isn't meant to be the feminine equivalent of Boyhood. It doesn't have the same scope and clearly wasn't filmed over 12 years. It deals with a teenage girl who, failing to graduate to high school, drops out of vocational school to join a gang. It's not as rough as you would expect for the first half of the film- what we have is an extended view of girls who like clothes, jewelry, singing Diamonds and even miniature golf. It's in the second half when we see a more serious fight (our protagonist, "Vic," uses a knife to remove another girl's bra) and then sex, and insults about being a slut. Instead of the gang being portrayed as a truly destructive force, it's actually more of a sisterhood whose members discourage Vic from descending deeper into criminality. We certainly see Vic's motivations for joining the gang- she has little future, and is told it's too late for her. Not encouraging. Her home life is rough, too. I can't say I was blown away by Girlhood, but it's a believable drama with a sympathetic protagonist.
This film throws the reader into the world of Marieme, a later-teen girl who's parting from her family and finding a new, rambunctious, fun and shoplifting gaggle of friends. She stands her ground. She gives way. She laughs and cries (but rarely the later) and the film is intelligently made. Every bit of dialogue in the film is believable, and every scene is natural. This is kind of the baseline for every film I would like to see, where that's concerned. And there is so much that makes the characters real, that I cannot begin to unravel the reasons for you; for every time you want Marieme to succeed, live and love, there's an unknown twist that's utterly believable. Prepare for life, before watching this. And still, it's anything but boring, and life in a poor suburb of Paris unfurls to us all. This is a Gift. I love Céline Sciamma, the director, and this is just another step in a great way for a true film. Go see, and love it.