1. The everlasting tension between self-denial and camouflage. 2. Identity, of any kind, is not expressed in a binary mode. 3. Society has its ways to remember us that the individual is not free to be. Nothing new, you would say, except for the fact this work is so vivid and pristine that it goes beyond words, ideology and politics. Cinema, after all, is a vision disguised as reality.
Subtle and un-voyeuristic take on puberty. In try French realist style, the viewer feels so close to the protagonist's skin that there is no room to critically reflect. The relationship between the protagonist and her sister and parents are both fascinating. The scenes with the children playing seem unforced, if a little simplistic compared with the complex and textured way the protagonist interacts with her family.
Beautifully shot. It reminded me of the Dardenne brothers' filmmaking approach for the way it is written and executed; despite appearing simple and accessible in its style on a first viewing, there must have been an elaborate and thoughtful creative process to reach that simplicity and directness of emotions. For the delicate style it achieves, it also made me draw parallels with Rohrwacher's THE WONDERS.
A beautiful and sensitive exploration of childhood gender awareness and identity. It's well structured and resists the temptation to preach or sensationalise, while both Héran and Lévana are stunningly natural. The strength of Sciamma's approach is the simplicity and openness with which she tackles such a tricky subject: there is a truthful quality here that is both moving and thought-provoking - a real achievement.
A profoundly humane depiction of the blurred boundaries of gender and the nature of all to be on various places on the masculine-feminine spectrum. Sciamma has an intuitive sense of realism that is reminiscent of Dardenne. This is a very moving and intelligent portrait.
This was so touching- sensitive in its simplicity and matter of factness across the film. I sensed great attention to detail and direction in working with young actors but also beautiful lightness in the cinematography depicting the world from a young girls perspective.
3.5 Very well scripted, directed, and, considering the cast was mainly young children, very well acted. The camera was always intimate and attentive; the feel of childhood summers perfectly captured. It just didn't do anything surprising, and was quite light. No bad thing, however: It's easier to make this sort of material extremely depressing.
Without digging deeper or engaging further, Tomboy gives visibility to the phenomenon of transgender identity. The film paces itself to create an intimist story avoiding any sign of controversy betting on the winner card of capable young kids delivering compelling performances. The politics are rather conventional, conservative, and the end offers a clean exit minimising the trauma & prolonging the sweet aftertaste.