Writer-director Céline Sciamma's previous film,
Water Lilies, was a great, simple and beautiful film about teen sexuality and power. In
Tomboy, she makes another film that rests on the edge of Western cultural mores about children and sex, this time with younger, pre-sexual kids.
The film opens with a prepubescent child with short hair riding in the car with his/her father. It is not clear if this is a girl or a boy, but he/she looks about 10-years old. The family has just moved to a new apartment in the Paris banlieue. Right after moving in, the child goes outside to walk around and meets a young girl, Lisa. The child says his/her name is Mikael and is then introduced to the other kids as the new boy in the building. Later, in a bath with his younger sister, it becomes clear that Mikael is not who he says he is, but rather is a girl named Laure. Now Laure/Mikael has to pass as a boy, despite her sister finding out about the situation.
This is a very simple film in narrative. There is one falsehood presented early on and it leads to a few situations that are totally uncomfortable for the audience and difficult for Laure. Much of the tension in the film relates to Laure's "secret" coming out and how the viewers generally root for her to pass as a boy. Sciamma beautifully plays with this idea, however, as she puts Laure in positions that bend gender, and make the audience squirm. At one point, Lisa puts makeup on Mikael the way two 10-year-olds might play. For us, this is a very disconcerting moment as it feels like a boy is being forced to look like a girl... though, of course, it's really just a girl getting makeup on her face. At another moment, Laure's mother insists she put on a dress, which feels very much like she's a boy wearing a dress.
This brings up all sorts of interesting stuff about how society prejudges kids with regard to gender and who once we think a kid is a boy or a girl, they are put into categories in our minds. Girls wear pink and play with makeup; boys wear blue and wrestle. (Laure's mother mentions offhandedly that her bedroom was painted blue.) Even when we know Laure is a girl, her wearing a dress still feels uncomfortable. This also leads to questions about our feelings of childhood sexuality and presexuality. It's very easy to just to the conclusion that Laure is a pre-lesbian, but she's really pre-sexual and this experiment has much more to do with being a new kid in the building, wanting to fit in and her feelings about her parents and sister.
There's something about French directors that they direct kids in amazingly and naturally, unlike most English-speaking directors. Sciamma is working mostly with non-actor kids or kids with very little experience and most of the scenes in the film involve kids running around and playing or talking and arguing as kids. Throughout the film, everything feels totally natural and honest. Some scenes could pass as unscripted documentary footage (much of it is probably unscripted). Zoé Héran, who plays Laure/Mikael, is particularly great in this role, though with kids it's always hard to compliment acting because it's not clear how much of a stretch they're making or how aware they are of what they're doing.
This is easily one of the best films of 2011. Much like Lucia Puenzo's fabulous film XXY from a few years back, it examines childhood gender roles in an elegant, non-exploitative fashion. It is straightforward with an uncomplicated plot, it has a beautiful realistic quality and interacts with the audience in very interesting ways that force reflexive analysis and more consideration.
Stars: 4 of 4
