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A real-life couple, Pittakos and Shoteka don't hesitate to strip off for some naked swimming in crystal clear water, as well as plenty of physical intimacy. They intriguingly play it all very coolly, never trying to visually enact the drama that's being described in the narration. Their problems apparently stem from a drug-fuelled night when they made an awkward attempt to open their relationship. There's certainly little evidence of the arguments that are described, including the anger, shouting and emotional pain.

As it goes along, the film's collage-style approach works on both levels: the visual beauty of these men in this place and the verbal thoughts pondering the nature of a relationship. As the voiceover reflects the thoughts of one of these men, it's also clear that these feelings are universal, expressing the nagging insecurities people experience in any relationship, worrying even though there's no reason to do so. All of this introspection makes the film feel rather mopey, of course. But it's packed with little insights and some properly stunning imagery.

themes, sexuality

24.Jan.19

Ascaride anchors the film as a woman for whom everything in this place reminds her of a past she wants to forget, notably the loss of a younger sister (Seignon in flashbacks). And Angele's presence causes ripples for those who have remained in town. Ascaride has superb chemistry with Darroussin and Meylan, a lifelong bond that shows the strain of decades of neglect. It's wonderful to see them reconnect and remember their childish encounters. Even better is the way they rediscover themselves.

Yes, all of this is very French, with wordy, metaphor-heavy dialog and pointed confrontations that deliberately sidestep the true issues until everything erupts into rather dry emotions. As it goes along, the film folds in a variety of storylines, playing cleverly with the relationships and culture. These are people who want to maintain the positive elements of a life they've always known. But the world is changing around them, and their constant refrain that "it was better back then" is annoying the younger generation.

themes, language

7.Jan.19

Kijowska brings a strong sense of haunted yearning to her role as a woman who has always done what was expected of her and now begins to wonder what she really wants. She's too mopey and self-involved to be fully sympathetic, but she feels real. Rycembel's Magda is much more interesting, prickly and unpredictable, opinionated and loosely edgy. It's easy to see why Nina would be attracted to her, but Magda's response can only be physical, no matter how hard the script pushes the romance.

As a filmmaker, Chajdas clearly has a lot on her mind, filling the screen with scenes that must mean a lot for her (including several classroom discussions of Godard's Le Mepris). The story idea is strong but, without a more aggressive editor, the various elements only vaguely connect with the audience. Ideas and issues hold the attention, including the depiction of a marriage neither partner can be bothered to save. But as a lesbian coming-of-age or a romance between two women, the film never comes to life.

themes, language, sexuality

23.Jan.19