Respira

It starts out rather breezy, like an Eric Rohmer film of yore--sunny vacation days at the seaside, relationships not quite in sync, a highly observant drama with beautiful young actors in in believable situations. Soooo French. Will there be a moral to this tale? I will not spoil any further, but suffice it to say that it becomes MUCH more intense, and totally spellbinding.

The acting is phenomenal. The direction stunning, from Melanie Laurent, still in her 30's, a familiar actress who has graced many a production since 1999. (Although NOTHING could have saved the cosmically terrible Inglorious Basterds).

Don't miss this one if nuanced characterizations and intricate plots appeal to you.

So she's a great director, too. I still haven't seen Laurent's 'Les Adoptes', but will close this gap asap after watching this her 2nd feature film. On the surface alone 'Respire' offers everything that's good about and expected from a social drama produced in Europe: hand- held camera, faithfulness to the light in which we'd see each scenery in real life, the effects being in the faces rather than in post production. The story being told by those faces as much as by film narrative, foremost by Josephine Japy's face. And the film unfolds as everything but mere surface. It's a very simple story, a school friendship going awry with tragic consequences, but Laurent's focus is on the subtleties of this relationship's evolution in each moment, and in collaboration with formidable acting this makes it a compelling watch. One small but powerful feature of film language that particularly delighted me was the smart use of slow motion: slow-mo is too often used in other films in a very annoying, bashful in-your-face way, here it is sparsely used, brief moments that follow the sole purpose of accentuating, and these moments work. The final result is a quiet, engaging, and ultimately disquieting and unsettling portrayal of the potency of emotional conflict at teen-age, of how unrehearsed and thus affecting, cruel and potentially dramatic and disastrous actions and reactions can be, especially if the pretence of adjustment hides the cracks of insufficient, failing or absent home support. Reacting increasingly becomes overreacting, foreboding eventual catastrophe; vulnerability takes vengeance on the greater vulnerability, and it is the containment of this greater vulnerability beating with the heart of the more reasoned protagonist that will in the end cease abruptly and give way to a surrender of control. The final take, as simple, precise and convincing as the entire film, is nothing short of ingenious. Praise be due to the performances of both leads, especially Josephine Japy (often reminding me of a young Binoche), as well as that of Isabelle Carre, playing Charlie's mother.

Mean Girls, My Summer of Love, and many other like films have covered well the lesbian coming-of-age film. Breathe, a knowing but ultimately clichéd version of that genre, is a classy take on the angst of being a teen girl at anytime and anyplace.

Almost 18-year old Charlie (Josephine Japy) falls for class newcomer, charismatic Sarah (Lou de Laage), but Charlie has a challenging time catching her elusive, sexy girlfriend. The beauty of the film is the gentle way director Melanie Laurent treats the roiling passions of youth—an obvious thematic element as the teacher at the beginning of the film lectures about the downside of excessive passion.

The dull, washed-out landscape mirrors the depressing state of the working class and teen emotional adjustments. Shots such as Charlie wading into the water and looking at the horizon may be formulaic but nevertheless are a variation of the symbolic language, a part of this emotional teen overdrive: She is in water potentially over her head, and she can only guess at the events' future implications.

The scene of Charlie and Sarah's kiss followed by a slap is spot on to suggest figuratively the ambivalent, volatile nature of early love, regardless of the orientation. As the title suggests, this stuff is normal heavy breathing for young folks. Breathe is a breath of fresh air in a formula well known for film and teens.

Tennyson understood and embraced the passion: "As tho' to breathe were life." Ulysses

If person like Sarah haven't not influenced yours life, than this movie can be to short to make reasonable impact on you. On other side, if yours life was strongly influenced by person like Sarah, then this movie could be a little bit to harsh. Before I met such a person I was unable to imagine that this kind of people could possible exist – it just does not make any sense. It was harsh to see this movie, but it is very good to be reminded in clear way that those people exist.

Very close to being a French version of the 2003 movie 'Thirteen'. About two 17-year-old girls, Charlie, a privacy girl with the asthma and the new arrival, Sarah, a sarky with the mystery background. A fresh friendship bloom unexpectedly between them, they begin to share everything. As fast they become close, the each others secret reveals, with the same speed a series of conflict forces them away with hatreds. Once again a movie based on the novel of the same name. Melanie Laurent's 2nd movie from the director's chair and she outclassed it.

Intense drama, from the beginning to the end. The story concentrates only these two girls, their first meet, relationship development and the story's conclusion. Very rarely other characters come into the frame with little to deliver speech and exhibit the act. The first half of the film exactly like the first half of the 'Heavenly Creatures'. Closely showcases the two girl's establishments of an unbreakable bond who do lots of mischievous stuffs together. And the second half was like the second half of 'Thirteen'. The fierce battle like environment like the usual catfight, but fairly avoids the overdose which makes a worthy whole.

With you, I feel bad. I lie, I am hard. You make me play the bad guy. It's unbearable.

What makes a two best friends (girls) hate each other, a boy? That's how the story switched from one way to another, a turning point in the storytelling. But this film was not all about fighting for a boy, there's something else which was the backbone to the narration. Weaknesses becomes a pointed gun to the face to deal with. The circle of to be victimized and be a victim was relatively balanced. The incomprehensible teen emotions take the story with the sequences of blames and absolves.

What I don't get is in the most of the movies is at the end why the film character sees the camera. This doubt is because the whole film explains something, but that final frame gives a different dimensional meaning. Maybe the indication of reform, like that happens in the coming-of-age movies either good way or bad. So, according to this movie... Sorry, you have watch to know it.

Impressive display by the lead two girls. Music, locations, everything was fine and holds the story till the last minute with same the intensity, then all the sudden releases it with a shocking twist. It was so quick and unexpected at that moment. So there's where I was disappointed a bit. The end should have been a more suitable one than preferable for a strong finish. But no complaints for the rest, a good teen drama which presents the evolution of love and trust to hate and disgust between two characters.

7/10