Naissance des pieuvres

A fascinating and indiscreet look into a summer for 3 teen girls synchronizing with the world, discovering their sexual drives and staying afloat while doing silly things. "A la Rohmer" someone might think: I partly agree but this first feature by Sciamma, proves to be much more modern, interesting and unwilling to indulge in exhausting blabla.

Yet a direction with some flaws - mainly in terms of pace and scene delivery - and a script with a lot of weak points - among which some weird behaviour by the characters and a general lack of realism (e.g. A. Haenel's character is too "old", experienced and pretty to be spending her time with P. Acquart's character). While the stylish choice of having adolescents apparently living without parents and doing the hell they like (surprisingly without the involvement of alcohol or drugs) might not be a problem, lots of other things don't really add up (and they don't seem all meant to show a fantasy world seen from the unexperienced eyes of our protagonists).

Hard to pinpoint exactly what is wrong with the execution of the storyline, but something is defintely off. Pity, because lots of scenes are quite suggestive despite their apparent simplicity. Wisely the writer/director decided that the lenght of 80mins was fine: going further might have turned the already mostly uneventful plot into a chore.

Great acting by all the young actors, with an especially good job by all the 3 main actresses.

Very good music by de Laubier at his first major work in cinema.

The significance of French title of this film, "La Naissance des Pieuvres" which literally means "The Birth of the Octopuses", is rather obscure, so it is perhaps not surprising that it has been marketed in English-speaking countries as "Water Lilies". The "lilies" of the English title are three teenage girls, Marie, Anne and Floriane, who are members of a synchronised swimming team based in the Paris suburbs, and the film is a "coming-of-age" drama about the development of their first sexual feelings.

One feature of the film, perhaps unusual for a film of this type, is that it concentrates exclusively on relationships between the young people themselves. We see nothing of their parents or their teachers, and very little of the adult world at all. The three girls are very different in appearance, and are portrayed as being very different in character. The shy, retiring Marie is slim and petite and appears to be the youngest of the three. Anne is something of a plain Jane, Floriane a glamorous blonde who is very popular with the boys. The three, together with a handsome male swimmer named Francois, are involved in what might be described as a love-quadrilateral.

Anne has fallen in love with Francois, but he is smitten with Floriane, who seems to return his affections, although he is by no means her only male admirer. Indeed, not all of Floriane's admirers are male, because Marie has a crush on her attractive friend. The film charts the way in which their friendship develops; at first it seems that Floriane is simply using Marie as a convenient excuse when she is in fact going out to meet boys; her parents presumably object to her dating boys, but have no objection to her going out with female friends. Later, however, we realise that, despite Floriane's image as the sexy, popular girl who is always the centre of male attention, she actually reciprocates Marie's feelings. The film reverses some conventional stereotypes about sexuality. Anne, with her short hair and rather chunky figure, looks typically "butch", yet she is the only one of the three main characters who is unambiguously heterosexual, whereas the more conventionally feminine Marie and the glamorous Floriane are lesbian, or at least bisexual.

Coming-of-age films are common enough, although most of them tend to avoid the controversial topic of teenage lesbianism. "Water Lilies", however, deals with its subject-matter in a sensitive way, with three very good performances from its three leading actresses, Pauline Acquart, Adele Haenel and Louise Blachere. The relationships between the characters, especially that between Marie and Floriane, are complex, and capable of a number of interpretations. (Is Floriane, for example, simply using Marie for sex, or does she genuinely have romantic feelings for her? Could Floriane's sluttish behaviour with Francois and the other boys be just a device to hide her lesbian feelings from the outside world? Or even to hide them from herself?) This was the first film made by its young director Celine Sciamma (only 27 at the time); on this basis she must be regarded as a highly promising newcomer. 7/10

I saw it at Cinema MK2 Hautefeuille just one night after its first public projection in Paris. A very pretty film about three 15 years old teenagers, all of them just at about the same psychologically stages. Many of the scenes let us to come back to our adolescence age & our first feelings about sexual relations. it is possible to imagine that the director would like to reduce the first strong sensual feelings of the girls to lesbianism, but even in that case she doesn't corrupt the likelihood of the story. You can sometimes find the film a little slow but it is what creates this intimate atmosphere. I fund the young actresses of talent, special mention with Floriane and Marie, very convincing. There are many small details but this film also enabled me to discover what synchronized swimming is: impressing!

Three teenage girls in an incomplete triangular relation. The base of the triangle is barely there. At the apex is Marie, a serious, short and lean tomboy with a Belmondo-like facial structure. Her best friend is the physical and psychological opposite: coquette, chubby -- I dare say fat -- and desirous for her first kiss with a boy but not quite ready for her first sexual encounter. Because of her chubbiness, boys don't seem interested and it pains her.

The other leg of the apex is a beautiful "fille fatale" blonde vamp. She is deeply involved in the sport of synchronized swimming performing at competitive level. Marie sees her during a competition at the local public swimming pool. Marie insinuates herself into the life of the vamp using the desire to become a synchronized swimmer as an argument. The vamp has a reputation of being a whore, making out with any young male that orbits around her. Marie is not phased out by that reputation. Put a stress on reputation.

The first half is set up. We get to see a lot of synchronized swimming as we become familiar with the three girls. Eventually the narrative leaves synchronized swimming behind and concentrates on the topsy-turvy relations among the three. That's when unexpected things start to happen.

It is a trademark of French films to drop nuggets of wisdom on the viewer. This one is no exception. Here it is about ceilings and the dying. See the film to learn more.

The director says that the use of synchronized swimming is purposeful. That women-only sport is a metaphor for a girl's life: pretty and feminine on the surface while hard working and competitive underneath. A number of scenes drive this point: elegant moves and smiles for the public, legs kicking ungainly underwater. The title in French is also suggestive: "prieuve", or octopus, suggest an individual having to juggle many pressures simultaneously.

Scrawny Marie (Pauline Acquart) and awkward chubby friend Anne (Louise Blachère) are standard outsiders. It's summer and they hang out at the pool watching the synchronized swimmers. Marie befriends beautiful Floriane (Adèle Haenel) who leads the swim team. Floriane is the subject of much gossip. Marie starts hanging out with Floriane putting pressure on her friendship with Anne. Meanwhile Anne is obsessed with hunky François.

It's a story of sexual searching and an awkward coming-of-age. There are a few daring scenes. I love when Marie and Anne have a fight. However the plot feels a bit too slight. It's too quiet and the danger is all internal. I want more conflicts. In the end, some stuff happens but they all end up in the same place.