Tomboy (2011)

This year saw the home release of Celine Sciamma's masterwork, Portrait of a Lady on Fire (2019). It was a film that floored me with its beauty and power. I had found a new filmmaker to revel in. I wanted to find her catalog and watch more. And The Criterion Channel obliged by releasing a trio of Sciamma's early works.

I sat down to watch one of those: 2011's Tomboy. It had an engaging premise and a compellingly brief runtime at 82 minutes.

I was interested to see the evolution of a master filmmaker. I wanted to know if the spark was always there, or if Portrait came out of nowhere.

I. What Is It?

This is the story of Laure, and their family, and how they moved into a new apartment one summer. It's the story of how Laure became Mikael and constructed a life among the apartment block's children. Before it comes crashing down.

II. A Story of Moments

Sciamma's greatest strength as a filmmaker, she writes as well as directs, is her ability to show you a story, while refusing to "tell" it to you. The characters don't talk about the plot; the plot just happens. Exposition is almost entirely absent, forcing the viewer to construct the story and the relationships as they happen. It is a tantalizing storytelling technique. I can see it frustrating some viewers, but a canny audience that isn't afraid of doing some legwork will absolutely appreciate Sciamma's refusal to hold their hand.

It works especially well, here. We are thrust into the life of Laure with very few context clues. Sciamma lets us stew in our confusion (is Laure a boy or a girl? A tomboy or a transboy? Do the parents know?) as a means of allowing us to identify with Laure's confusion. As the story goes along, though, and as Laure comes alive in their new identity as Mikael, our confusion settles, even as Sciamma refuses to categorize Laure/Mikael. It is not important who or what they are: it is important that they are becoming themselves. That they are living, and enjoying it.

Even as that sweet build drives us ever closer to a cliff that will be terrible to tumble off of. We see how loving Laure's parents are, which only underscores how heartbreaking the mother's visceral reaction is later in the film. We see how much fun Mikael is having with the neighborhood boys, and the budding romance with Lisa, which only underscores the total naive cruelty that those same children show Laure later.

Sciamma lifts you up into the air, and then sends you smashing into the ground, to pick up your pieces as the credits roll.

III. A Knack for Painterly Images

Along with cinematographer Crystal Fournier, Sciamma has a way with constructing painterly images that avoid feeling too "constructed." The use of focus, and blur, and bold colors make this film feel alive from its very first frame to its last.

Sciamma often grounds her camera on Laure's (Zoe Heran) face and allows the story to be told there, reflected in those piercing blue eyes. There is shame there: as tears stream down her cheeks. There's determination there, as Mikael struts around and spits, adopting the characteristics of the neighborhood boys. And hope, in Laure's final smile.

IV. Excellent Kid Actors

That Sciamma was able to pull these performances from these young actors is incredible: she either got lucky and got a cast of incredibly talented youngsters (which she did) or she is an incredible director capable of drawing out complex, nuanced performances from her actors, not matter their age (which she is). Zoe Heran's performance as Laure/Mikael is a wonder of subtlety: it is fearless and genuine, and avoids melodramatic actorbation with skill. Even Malonn Levana, as the younger sister, Jeanne, is wonderfully inspired: Jeanne loves her sibling, and goes to great lengths to protect them and aid in their mythmaking and identity construction. Even as Laure believes there is no place for Jeanne in Mikael's life, Jeanne insists that there is with heart and love. She accepts Laure/Mikael at face value and loves her sibling. It's the kind of reaction you expect from a loving parent, but do not get.

Why You Should See It

- It is a coming-of-age movie for our times, and should be required viewing for people who misunderstand gender identity.
- The film is beautifully constructed, and shows you the story as opposed to telling it to you. At 82 minutes, you'll hardly find a film that manages to pack in as much emotion and power in as economical a runtime.
- The acting is incredible.
- It is further proof that Celine Sciamma is one of the best filmmakers on the scene right now.  Tomboy was her second feature, and it is wonderfully and skillfully crafted. It belies its status as a sophomore effort.
- If you are a moviegoer that isn't afraid of being emotionally shattered by a movie, Tomboy is streaming online, waiting for your eyeballs.

Why You Shouldn't See It

- This is definitely not a movie that would get made in America. Not only because it deals with trans issues, but because it does feature full frontal nudity of a child. Not in a sexual manner, and certainly not sensationalized, but we do see nudity. For some people that will be a line too far. It shouldn't be. Trust Sciamma. Trust the story.

In Conclusion

I am still sort of putting myself back together. This film is a portrait of how deeply people can love, and how their well-meaning intentions can be incredibly damaging. What's more, it is a portrait of a young person figuring things out and finding an identity. It is a film that puts you in that young person's shoes. You'll feel the swelling of hope as Laure becomes Mikael. And you'll feel that deep shame and betrayal as a well-meaning mother does what she thinks is best.

It isn't a movie to just turn on any old time. It is a movie you should be prepared for. It's a movie you should reckon with and respect.

But it is a movie you should see.

Miscellany

- The film was shot in 20 days with a crew of 14. It had a budget of one million dollars, and earned FOUR million at the box office.
- Sciamma has stated that she left Laure/Mikael's gender identity vague on purpose: "I made it with several layers, so that a transexual person can say 'that was my childhood' and so that a heterosexual woman can also say it."